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192 9 


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Address. Dept. 65-z, 170 Broadway, New 

Advertising Sixtion 



the first Viennese Operetta 

A Song Romance with music by 

composer of 



"...One of the loveliest of all the melody films, the most 
exalted score yet to be sung in the audible pictures... 
Audiences are going to find it a thing of joy." 

— Quinn Martin, World 

"...An especially fine example of vocal recording... adroitly 
interspersed with joviality and extremely clever photo- 
graphic embellishments. The principal songs are charm- 
ingly rendered." — Mordaunt Hall, Times 

" recalls sweet and pleasant theatrical memories... it is 
of such stuff as dreams are made of ...glorious music." 

— Irene Tkikek, Ncivs 

'...boasts big sets, 
mob scenes, elabo- 
rateeolor sequences 
... has been produced 
on a very lavish 

— Rose Pelswick. 

Broadway contributes the stars, Hollywood 
the lavish ami splendid settings, and '\ ienna 
the enchanting melodies of her greatest living 
composer, Osear Straus — to make "MARKIKD 
IN HOLLYWOOD" the most glamorous song 
romance ever conceived for stage or screen! 
Here is $6.60 Broadway entertainment — 
plus! Leading stars of song and comedy, bevies 
of Hollywood beauties, settings that stun the 
vision with their magnificence, a plot thai 
would have delighted George Barr 3IcCu teh< •< >n 
himself and surrounding it all, a haunting, 
enchanting musical score by the world 
famous composer of the Chocolate Soldier! 
your favorite theatre soon. 
Don't miss lliis musi- 
cal M<>\ ietone! 




Picture Play 

Volume XXXI 

Contents for December, 1929 

Number 4 

Tlie entire contents of this magazine are protected by copyright, and must not be reprinted without the publishers' consent. 

Edwin Schallert . 

The Bystander 

What the Fans Think .... 

Their thoughts are strongly expressed — and how! 

Airy, Fairy Marilyn ..... 

A graceful portrait of Miss Miller, in "Sally." 

Stingy? No, Just — er — Careful . 

Stars accused* of parsimony are entertainingly cited. 

Just Fancy! 

If popular sayings became literal. 

Checking Up on Dick . . . . William H. McKegg 

A comparison of Richard Arlen before and after fame overtook him. 

The Stars' Secret Code ..... Helen Louise Walker 

They lend a helping hand and say nothing about it. 

Teetering on Their Toes . . . . ... 

Pictures of dancing sprites. 

Over the Teacups ..... 

Fanny the Fan's perennial chatter. 

Strange Roads to Stardom .... Alma Talley . 

Unusual means employed by well-known players in starting their careers. 

Hotter and Hotter 

Eddie Nugent and Sally Starr practice a new dance. 

What a Guy! What a Guy! .... Samuel Richard Mook 

He's Glenn Tryon. 

Favorites of the Fans ......... 

Full-page portraits in rotogravure of eight you all know. 

Your Darts Strike Home ..... Ann Sylvester 

Leila Hyams admits that she reads "What the Fans Think." 

She Wears the Badge of Courage . . . Myrtle Gebhart 

You will agree when you read Anna Q. Nilsson's story. 

Billie Alfresco . . . . . . .... 

Sans spangles and plumes, Miss Dove is a different person. 

Dogging Lila's Footsteps ..... Romney Scott 

Three delightful encounters with Miss Lee, the first as a child. 

Hollywood High Lights Edwin & Elza Schallert 

News and gossip of the movie capital. 

Through Different Lenses A. L. Wooldridge . 

When President Hoover was snapped by a photographer of stars. 

The Stroller 

Ironic observations of Hollywood's idiosyncrasies. 

Continued on the Second Page Following 

Neville Reay 


Monthly publication issued by Street & Smith Corporation, 70-89 Seventh Avenue, New York City. Ormond G. Smith. President; George C. Smith, Vice 
President and Treasurer; Gem-Re C. Smith, Jr.. Vice President; Ormond V. Gould, Secretary. Copyright, 1929, by Street & Smith Corporation, New 
York. Copyright, 1929, by Street & Smith Corporation, Great Britain. Entered as Second-class Matter, March 6, 1916, at the Post Office at New York, 
N\ Y., under Act of Congress of March 3, 1879. Canadian subscription. $2.86. Foreign, $3.22. 




We do not hold ourselves responsible for the return of unsolicited manuscripts. 


Advertising Section 


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Contents — Continued 

When They Love Out Loud 

June Collyer tells what happens in the talkieb. 

They Got What They Wanted, But . 

Some notable breaks and what came of them. 

The Torso Triumphant .... 

It belongs to George O'Brien — how can you ask? 

The Screen in Review .... 

Impartial reports of the latest films. 

A Confidential Guide to Current Releases 

Timely tips on pictures now showing. 

The Stepchildren Make Whoopee 

Private diversions of some lesser-known players. 

That Mystic Urge to Act .... 

Lenore Ulric describes it eloquently. 

Renee — As She Is .... . 

High lights of Miss Adoree's character and career. 

It's Great To Be Famous .... 

But sometimes the penalty is beyond all reason. 

What Are the Talkies Saying? . 

Gay commentary on behind-the-scenes happenings. 

They Watch Their Step .... 

The stars budget their earnings so as not to spend too 

Information, Please ..... 

Authoritative answers to readers' questions. 

. Laura Ellsworth Fitch 
. Samuel Richard Mook 

• • • * • • 

Norbert Lusk 

Madeline Glass 
. William H. McKegg 
. Margaret Reid 
. A. L. Wooldridge . 

Grace Kingsley 
. Ann Sylvester 


. The Picture Oracle 



DERHAPS you think it is as easy as falling off a log, particu- 
* larly after hearing some of them. It is and it isn't, depending 
entirely on what talent you have and what opportunities you find 
for its expression. But there's certainly a demand for them, and 
to-day is the time when song writers are enjoying success more 
largely than ever before — some of them amateurs, but most of 
them with many popular ballads to their credit. Whether you are 
an amateur or a professional, you can't fail to look forward to 
Virginia Morris' article in January PICTURE PLAY. She traces 
the theme song from its earliest beginning — further back than you 
might suppose — and tells just how they are written to-day and by 
whom. Besides this, she gives a great deal more unusual informa- 
tion on the subject and conscientiously points out the difficulties, as 
well as the ease and the rewards, of establishing oneself in the 
newest of professions — writing music for the movies. 


THAT the stars have dual personalities? Of course you have 
wondered if your favorite is just the same off the screen as on 
— every one does that. But Myrtle Gebhart goes rather further 
and proves to you that in several striking instances the stars have 
a dual personality — a real one and another brought out by the cam- 
era. Thus you may vastly prefer the true personality of some one 
you dislike on the screen, to the off-screen personality of a star you 
idolize. It is a most unusual story and Miss Gebhart's ability to 
delve into the least-known side of the stars has never been more 
manifest than in the story she has written for next month. 

Samuel Richard Mook has investigated the always interesting 
subject of fan mail — what it consists of, why certain stars ignore 
requests for photographs, and why others send them when they 
aren't even asked for, as well as how much — or how little — letters 
mean to stars in determining their popularity. Look for this story; 
you are sure to be amazed by it. 

Indeed, you will react with amazement to more than these fea- 
tures of next month's contents, for they are only a few items in what 
we confidently believe will prove to be the strongest issue of 
PICTURE PLAY in a year. 

Advertising Se< i ion 


Broadway — 3Iecca of millions . . . now the round-1 lie- 
corner resort of all America, thanks to Vitaphone! 

Vitaphone obliterates the miles that used to separate yon 
from the Street of Streets, and, brings Broadway to you. 

From the world's great stages, Vitaphone is transplanting 
the most celebrated singing, dancing, and dramatic stars 
and "acts" to the screens of thousands of theatre*. 

Check up on the attractions at your local Vitaphone 
theatres every week. Events are on the way which yon 
will not want to miss. The Vitaphone sign on a theatre 
is a trusty guide to the best of good times. It guarantees 
not only perfect voice reproduction, but also the foremost 
stage and screen stars in productions of the highest 
calibre. Look for it before you step up to the box-oflice. 

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hear Vitaphone only in Warner Bros.w First National pictures 



What tke Fans Think 

Was "Coquette" a Success? 

I HAVE finished asking two hundred persons what 
they thought of "Coquette," and only eight enjoyed 
or even liked the picture. 

Alary Pickford has been "America's Sweetheart" for 
eighteen years. She was an ideal. Her pictures were 
clean, sweet, and inspiring. She was the type of girl 
every boy dreams of as some day having for his wife. 
A beautiful, sympathetic character, always portraying 
the lovable, protecting a suffering animal or helpless 
child. None of her pictures was ever clouded with sex 
stuff, poor casting, or any of the ills so common to most 

As one of the few fortunate fans, I have seen every 
film Miss Pickford made since the old Biograph days. 

The public depended upon her to give them such pic- 
tures as "Pollyanna" and "Rebecca of Sunnybrook 
Farm." But all of a sudden, Mary decided to "grow 
up." She made "Rosita," cast as a Spanish girl, Mary 
of the golden curls, a seiiorita ! Mary of the madonna 
face and praying eyes. Could any role be more unsuited 
to her? A role literally screaming for a dark-eyed bru- 
nette ! And even after this, she still felt the urge, and 
made "Dorothy Vernon," which suited her much better 
than "Rosita," but "Sparrows" was kinder to Mary and 
brought back memories of her former triumphs. 

When Mary Pickford cut off her hair she did some- 
thing that would be very hard to define in mere words. 
Literally millions of her fans mourned the loss of those 
golden curls as sincerely as though they were their own. 

Mary cut off her hair — and for what ? Some say to 
become the popular flapper type, but does she make a 
good flapper? As one of her faithful followers, I be- 
lieve her to be the least interesting flapper I have ever 
seen. In "Coquette" a very strange situation presented 
itself. Although Mary has the figure, mannerisms, and 
even the face of a child, and she appeared as a flapper, 
yet she suggested some one a little too far along for 
the wind-blown bob and kittenish vamping she tried 
vainly to accomplish. 

This is hard to explain, because in "Sparrows" she 
was the little girl of old, with no hint of maturity, and 
this fact is admitted by those who saw that picture. 

Can any one explain how Mary Pickford, who has 
been in pictures since their birth, could cast herself in a 
role so utterly foreign to anything she has ever attempted 
before, and one so completely unsuited to her? 

Did she believe that the public wanted something so 
different that she must bob her famous curls and trans- 
form her lovable self into a simpering flapper? And if 
she could so far forget herself, what were her family 
and friends thinking of not to dissuade her? 

It is almost unbelievable that our Mary should trans- 
form herself into an everyday, commonplace, young 
woman devoid of charm, considering the splendid mas- 
terpieces she has made. Now that she can select her 
own pictures and is not bound to a producer, she could 
do anything. After such masterpieces as "Tess of the 
Storm Country," "Poor Little Rich Girl," "Hearts 
Adrift," and "Little Lord Fauntleroy," "Coquette" was 
simply unspeakable — without moral or reason. It is true 
that times have changed, that we are living in a modern 
age, but men and women still love the beautiful in life. 
The public adored Mary Pickford for her sweet, sym- 
pathetic roles. They loved and wanted the old Mary, 
and most of them keenly resented the stranger who 
played "Coquette." 


1901 Grand Avenue, 
Fort Worth, Texas. 

As a Briton Hears It. 

No talkie was boosted more than "The Broadway 
Melody." and, considering the time and money spent 
upon it, one would expect to find it free from obvious 
faults. Unfortunately, this is not the case, as I shall 
endeavor to point out. 

Let us take the singing. The word "melody" should 
be sung without the singer pausing in the middle of the 
word to take breath. Charles King sings it "Melo-(long 
pause for breath) -d-e-e-e-c." Another serious fault is 
the slurring of two or more words together as one. For 
instance, there are words in one song, "For I'm content," 
which Charles King joins together and sings as "Fryme 

In the dialogue he is guilty of the same faults. One 
phrase is "They were in," which he pronounces "They 
we — rin." Another occasion he speaks of "an agent" 
as "a nagent." Another sentence is, "You have not seen 
their act," which he interprets, "You have not sin the — 
ract." The description by Anita Page of a birthday cake 
as "elegant" is a misuse of a rather attractive word. 
Bessie Love also shouts, "Butcha yaller" instead of, 
Continued on page 10 

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Continued from page 8 

"I*.ii! you're yellow." There arc also sev- 
eral instances during the film in which 
the words spoken are completely inaud- 
ible, whereas, by way of contrast, in one 
passage where Warriner makes love to 
Queenie, his voice sounds as if it is con- 
veyed through a huge megaphone in a 
deep bass tone. 

T. S. Steuart. 
The Birks, Purley, Surrey, England. 

She Knew Gary When 

Having seen so many letters recently 
about Gary Cooper, I hope Lillian will 
pardon me if 1 indulge in an amused 
smile after reading what she writes about 
him. "Shy, reserved, sincere, dignified.'' 

I knew Gary years ago in Bozeman, 
Montana. At that time his neighbors con- 
sidered him merely dumb and very, very 
conceited. I suppose, if an actor reaches 
the height of dumbness he is considered 

His press agent seems + o be building 
a story around this young man which 
states, in effect, that he is so very re- 
served he cannot talk about himself — or 
even recognize old friends. If he is so 
timid and shy, how does it happen that 
he is engaged to Lupe Velez, that Mexi- 
can volcano? 

I'm not saying anything to detract from 
Mr. Cooper's glory. He is an average, 
everyday young man, fairly nice looking, 
with a slight touch of the charm of Wal- 
lace Reid. He has one or two expres- 
sions, a frown and a scowl, which seem 
to appeal to inhibited young women with 
yearnings for a cave man. 

I'm very glad Gary has made such a 
success of his career. Personally, I con- 
sider him lacking entirely in "It" or sex 
appeal. If I had to choose between Ches- 
ter Conklin and Gar}-, Chester w-ould re- 
ceive my vote. Marie Price. 

San Pedro, California. 

Fans Unconscious Comedians? 

Have just made the acquaintance of 
the "What the Fans Think," and was I 
impressed? Hey, hey! I was completely 
bowled over, knocked on the head, and 
reduced to near hysterics by this collec- 
tion of odd opinions. Is it a kick? Baby! 
It s one like a mule's — straight to the fun- 
ny-bone. One fan is off Gary Cooper for 
life, because Lupe Velez bit him on the 
ear. My goodness gracious ! Any one 
who has ever seen the small but smolder- 
ing Lupe can easily guess that if she 
wants to bite a man on the ear, that man 
can then and there consider his ear bitten. 
What Lupe wants, Lupe gets, so why 
blame Gary? True, he furnished the ear 
— Gary, you really shouldn't leave your 
ears around so careless, to be bitten by 
joyous young females. 

And, ah, what's this? Another fan 
speaks right up, disowning Dick Barthel- 
mess because he likes "The Front Page." 
Bless my soul ! That was rather rash of 
Richard, who should have picked out 
something more refined. Mend your ways, 
Brother Barthehness, mend your ways! 

And here's Gary again. This time our 
big boy, when appearing in person, didn't 
smile brightly and cheerily, flash his teeth 
at one and all, and wave his hand in 
brotherly comradeship. Therefore, this 
fan will in future never look upon Gary's 
face again, much as he loves him. Gary, 
it's all for your own good. Time out, 
while Gary breaks down and sobs in bit- 
terness — sound effects by Western Elec- 

Personally, I admire Doug Fairbanks 
and Mary Pickford, and have been doing 
it for years. If somebody should bob up 

Wkat the Fans Think 

on a surf board and whisper that Doug 
was a cream-puff addict and that Mary 
was known to take delight in pitching ripe 
tomatoes at her departing guests, I would, 
strange to say, go right on admiring their 
work on the screen. I'm funny that way. 

I think the players must get a terrific 
kick out of "What the Fans Think." I 
think it's hilarious, and the unconscious 
comedians who contribute deserve a hearty 
vote of thanks. Here's mine. 

Rose Palonsky. 

628 Fourth Avenue, 

San Francisco, California. 

Do Stars Appreciate Letters? 

Now, I, too, want to complain about 
this business of missing quarters. Who 
gets them? How I wish I could answer 
that question ! I see by the number of 
other people who have complained, that 
I am by no means the only disappointed 
one. If we send our quarters we get 
no pictures, and if we don't send money 
we don't get any, either, so how are we 
to obtain pictures of our favorites? Gee, 
can't something be done about it We 
can, as Bill Batty suggested, "shut up 
and save postage," but even that doesn't 
get us our desired photos. 

The stars must realize that we fans, 
and nobody else, get them where they are. 
I've come to the conclusion that they 
don't give a cent for our letters. Many 
of the fans have called some of the stars 
high-hat, because they failed to send pho- 
tos, and I, too, want to second that sug- 
gestion. However, I have found a few 
who are not high-hat. But not even 
money will succeed in getting me a photo 
of Greta Garbo, Joan Crawford, or Con- 
rad Nagel, Dolores or Helene Costello. 
Won't some one suggest an idea by which 
we may get photos of our favorites? 

I should like to add a word of praise 
for Raymond Hackett, because of his 
splendid work in "The Trial of Mary 
Dugan" ; for Billie Dove, because of her 
splendid work in "Careers" ; for Anita 
Page, Sue Carol, David Rollins, Lola 
Lane, Sharon Lynn, and Grant Withers. 
Verlene Crane. 

535 Hampton Drive, 

Spartanburg, South Carolina. 

Down with Eddie Nugent! 

Of all the asinine amateurs now dis- 
gracing the screen, I think Eddie Nugent 
is the worst. M.-G.-M. seems to think 
that he is cute or funny or something, for 
they put him in every possible picture. 

He certainly has ruined a few for me. 
Take that really excellent film, "The Duke 
Steps Out." In almost every close-up of 
Bill Haines or Joan Crawford, we had 
to suffer the mugging of that young ham. 

I hear he has been cast in "Untamed," 
with Joan Crawford. I certainly shall 
not see it, and I'm sure there are hundreds 
of others who won't, because they hate to 
see what might be a good picture ruined 
by a supposedly funny person. 

I certainly disagree with those fans who 
say Alice White cannot act ! She is a 
far greater actress than Clara Bow and, 
in my opinion, has it all over Garbo — 
such slosh ! 

It's a pity we have to listen to such 
screeching as Baclanova gave in "A Dan- 
gerous Woman," when we can hear youth- 
ful and charming voices like Alice White's, 
in "Broadway Babies." In a year she will 
be the biggest star there is on the screen. 
Washed-out personalities like Bow, Bacla- 
nova, Eagcls, Garbo, and Vilma Banky 
should be eliminated; but, first of all, 
down with that bumptious young upstart, 
Eddie Nugent. Lola. 

Victoria, British Columbia, Canada. 

About Love and Art. 

I heartily agree with J. Ernest Browne's 
opinion of love on the screen. Charles 
Farrell and Janet Gaynor, Vilma Banky 
and Ronald Colman are a few who show 
us real, appealing love as it is. 

To be perfectly honest, I like Sue Carol 
and Nick Stuart a lot ; but, as far as I 
can see, they do not belong on the screen, 
as they simply cannot act. 

Ruth Chatterton is, I think, a real art- 
ist. Before I left New York, I saw a 
few of her pictures, for which I consid- 
ered myself lucky, because she has only 
made a few. I was very sorry that "Ma- 
dame X" was not released until a few 
weeks after I left. Ruth Chatterton is, 
I can say, about the only actress from 
the stage that I admire, and I sincerely 
hope that all the fans will like her as 
much as I do, and that she will be a great 
success. A. Sue Content. 

Grand Hotel, Antwerp, Belgium. 

Favoring Stage Stars. 

There seems to be quite a controversy 
over the influx of stage stars to Holly- 
wood, the Mecca of the talkies. Letters 
have been written for and against ; but, 
sadly, I find mostly against. I wonder 

Any one who saw "The Letter," in 
which Jeanne Eagels did such marvelous 
work, can readily understand what I am 
going to say. In this superb production 
we saw Miss Eagels run the whole gamut 
of human emotion. We witnessed the 
struggle of a woman with herself, and 
most of us hated her. Yet, when I left 
the theater, I had no greater admiration 
for any actress than I had for Jeanne 
Eagels. She has given the screen the art 
that has thrilled Broadway for years, and 
we who were not fortunate enough to 
have seen her plays should thank talking 
pictures and Paramount for such a su- 
premely fine gift. 

Yet, in spite of the magnificence of her 
screen triumph, it seems there are those 
who criticize the advisability of having a 
stage star in pictures. 

Ruth Chatterton is another great exam- 
ple of what the stage can contribute. Her 
accent, though pronounced, is delightful, 
and her performance in "The Doctor's 
Secret" made the character live in spite 
of impossible lines. 

Both the aforementioned actresses have 
shown us something different in character 
portrayal. Their sojourn has been de- 
cidedly worth while, and I hope the fans 
show their intelligence by applauding them 
when they so justly deserve it. 

Then there is that other side. There 
is plenty of good material right in Hol- 
lywood. "The Broadway Melody" proved 
that. However, this picture was light 
entertainment, while Eagels gives us the 
drama on the audible screen that Garbo 
gives us so grandly in the silent film, 
and which I sincerely hope she'll be able 
to give us in the talkies. 

It is up to the fans to give laurels 
where they belong, to open their eyes to 
the possibilities of great stage stars, and 
not to let prejudice ruin their judgment. 
Alan E. Phillips. 

1632 Hollywood Crescent, 
Victoria, British Columbia, Canada. 

Down with the Talkies! 

What a sad tragedy for millions of 
people in our land would be the passing 
of the silent drama ! The producers con- 
tend they are giving the public what it 
wants, but that is not true. They are 
making talking pictures for commercial 

Continued on page 12 

An\ i.-i \<. >e< 


"What ? Learn Music 

by Mail Tthey laughed 

Ves, I cried, and III bet 
money lean doitf 

IT all .started one day alter lunch. The 
office crowd was in the recreation-room, 
smoking and talking, while I thumbed 
through a magazine. 

"Why so quiet, Joe?" some one called to 

"Just reading an ad," I replied, "all 
about a new way to learn music by mail. 
Says here any one can learn to play in a 
few months at home, without a teacher. 
Sounds easy, the way they tell about it." 

"Ha, ha," laughed Fred Lawrence, "do 
you suppose they would say it was hard.'" 

"Perhaps not," I came back, a bit peeved, 
"but it sounds so reasonable I thought I'd 
write them for their booklet." 

Well, maybe I didn't get a razzing then! 

Finally Fred Lawrence sneered: "Why, 
it's absurd. The poor fellow really believes 
be can learn music by mail!' 

To this day I don't know what made me 

conic back at him. Perhaps it was because I 

really was ambitious in learn to play tin- 

piano. Anyhow, before I knew ii I'd cried, 

Yes, and I'll bet money I can do It." Mat 

the crowd only laughed harder than ever. 
Suppose I Was Wrong — 

As I walked upstairs to my desk I began to 
regret my haste. Suppose thai music course 

wasn't what the ad said. Suppose it was too 
difficult for me. And how did 1 Know 1 had 
even the least hit of talent to help me out. 
If I fell down, the hoys in the 
Office WOUld have the laugb on 
me for life. I'.nt just as I was 

beginning to weaken, my life- 
long ambition to play and my 

real love of music came to the 
rescue. ,\nd I decided i.. go 

through with the whole thing. 

During the few months that 

followed, Fred Lawrence never 

missed a chance to give me a 

sly dig about my bet. And the 
boys always got a good lati'-'h. 
too. Hut I never said a word. 

1 was waiting patiently for a 

chance lo gel the Ida! laugh 
m |/8i ; ' 

What Instrument lor You.' 



5-String or 


Sight Singing 

Harmony and Composition 

Voice and Speech Culture 

Automatic Finger Control 

Piano Accordion 

Italian and German Accordion 

My Chance Arrives 

Things began coming my way during the 
office outing at Pine Grove. After lunch it 
rained, and we all sal around inside look- 
in).' at each other. Suddenly sonic one spied 
a piano in the corner. 'Who can play?" 
every one began asking. Naturally, Fred 
Lawrence saw a line chance to have some Inn 
at my expense, and he gol right tip. 

"Ladies and gentlemen," he began, "our 
Friend Joe, the music-master, has consented 
to gl\ e ns a recital." 

That gave the hoys a good laugh. Ami 

some of them gol on either side of mi' ami 

with mock dignity started to escorl me to the 

piano. I could heai- a girl say, "(Hi. let the 

poor fellow alone : can't yon sec he's morti- 
fled to death?" 

The Last Laugh 

I smiled to myself. This was certainly a 
wonderful setting for my little surprise party. 
Assuming a scared look. 1 stumbled over to 

the piano while the crowd tittered. 

"Play 'The Varsity Drag"," shouted Fred, 
thinking to embarrass me further. 

I began Angering the keys ami then . . ■ 
with a wonderful feeling of cool confidence 
. . . I broke right into tin- very selection 

Fred asked for. There w a* a sudden hush in 
the room as I made that old piano talk. lint 
in a few minutes I heard a fellow jump to his 

feet and shout. "Believe me, the boy la then ' 

Let's dance !" 

Tallies and chairs were pushed B8ide, and 
soon the whole crowd was shuffling around 
huving a whale .a' a time. Nobody would 
hear of me stopping, least of all the four fcl 
lows who were singing in harmony right at 
my elbow. So I played one 

peppy selection after another 
until I finished with "Crazy 
Rhythm," and the crowd stopped 
dancing ami singing to ap 
plnnd me. \s | i timed around 
to I hank t In m. tin re "as Fred 
holding a tenspol right under 

my nose 

"Folks." he said, addressing 
the crowd again, "I want t. 
npologize publicly to Joe I b< I 
him he couldn't learn to play 

by mail, and believe me. he 

sure d's. rves to win the 
money !" 

"I, earn In pla.v lm mail I" 


Steel Guitar 
Drums and 


exclaimed a dozen people. "Thai sound 
possible ! Tell ns how yon did it ' 

I was only too glad to tell them how I'd 
;iiwa.\s wanted to play but couldn't afford a 

teacher, and ildn'l think of spending \ears 

in practice. I described how I had read the 
U. s. School of Music ad. ami how Fred '"' 

me I COUldn'i h'arn to play liy mail. 

"Polks," r i [nurd, "It « i 

my I i r«- win n I gol the aril tenon. I: srai tun rlcM 
1 1 on, tii,. start, CTerythlr a* A-B-C 

no, ..i i ii < some exercise \t ■ 
quired was part of my ipare time. In i t 

ivas playlm 
I wanh I it. Hen tin 

t 1 : with Prod." 

Play Any Instrument 

You. too, i. in inn teach yourself 
pllshed musician right 

time. You iiu't *•< ivmnjr with thl- 
nrhlch has tlready shown ores half i million 
in plas i iv. lite Instruments by note. ' 
• ld-1 

■ truin. nu In tli. |. .ii.I. :■ 
one V'.i Mint to v and '!..• r. s School will 


"Ill l.o Interest I ia I. . 

Send for Our Free Booklet and 
Demonstration Lesson 

' hlllly until 
. mnrksblo "Mu Ii .1 Mill 
■ nllrcly irtlhi 

If via .it.- In 

I n r populat 

plain tlili r. 

Mill lilt nrW Automatic F mgrc Cuntml 

eounon now i 

N. 1 C. 

U. S. School of Mu»ic, 
5312 Brunswick Bids., New 


r^rk City 


Tout Own 

111 Inir 

' SI 

your . 



Continued from page 10 
gain. Why should they be allowed to 
force them on us, when it is evident that 
the majority abhor them? 

In their present stage of development 
the} are abominable, with hollow, un- 
canny, grotesque, and unnatural voices, 
which are not even understandable most 
of the time. It is doubtful if they will 
ever be perfected, for all mechanical de- 
vices of sound are the same after years 
of experiment. So why experiment on 
the poor public long? 

Also, the public won't stand for hav- 
ing its favorite stars thrust aside for re- 
cruits from the stage, with new and 
strange faces, and not at all handsome, 
either. It is an injustice both to the stars 
and their fans. VVe all admire Charlie 
Chaplin for his courage in refusing to 
make talking pictures. It is true that we 
were just beginning to get better pictures 
on the screen when along came talking 
pictures, and now what do we have? No 
more stories with plots, but just strutting 
and songs, or a display of a few stage 
actors in dialogue. And how ridiculous 
to try to screen "The Desert Song." 

We still have phonographs aplenty to 
give us all the music and dialogue we 
want, for those who like that kind ; but. 
tor goodness/ sake, keep vaudeville, sing- 
ing, and dancing on the stage, where it 
belongs, and give us back our screen 
favorites who have endeared themselves 
to us all; and give us hack the silent 
drama, with all its beauty and charm. 

Dayton, Ohio. V. C. 

From a Scholarly Fan. 

Did it ever dawn upon any one that 
such things as dictionaries may be inter- 
nal ly decorated in more ways than one? 
That is, instead of congesting several 
thousand pages with meaningless defini- 
tions of nouns, verbs, and the like, do 
you realize how interesting it would be 
to compile a dictionary of your favorite 

For instance, below is a very much 
abridged dictionary of my favorite stars, 
arranged in alphabetical order. I have 
attempted to define them, and at the same 
time give synonyms and antonyms in most 
cases. I might mention as a mere editor's 
note that in all dictionaries the lexicog- 
rapher is confronted by certain words 
which express an idea so perfectly that 
no synonym could justly be Used as com- 

Olive Borden. 1. Agreeable to the eye 
or to good taste. 2. Well proportioned 
and of pleasing dimensions. Syn.: Sue 
Carol, Mary Nolan. Ant.: Greta Garbo, 
-Myrna Loy, Renee Adoree. 

Clive Brook. (Eng.) 1. Deserving of 
greater acclaim by audiences. 2. One 
who speaks English to perfection. Syn. : 
H. B. Warner. 

Lon Chaney. 1. One of a group of 
really great actors. 2. One of a very few 
whose popularity has been attained by 
merit and not by physical attractiveness. 
Syn.: Emil Jannings, George Bancroft. 

Charles Chaplin. 1. One who studies 
the art of being funny with care and pre- 
cision. 2. A person who is capable of 
provoking laughter on all occasions. Syn. : 
liuster Keaton. Ant. : Harry Langdon, 
Eddie Cantor, George Jessel. 

Marion Davies. 1. One of a rare spe- 
cies of femininity capable of entertaining 
through the medium of light comedy. 2. 
A female who can be facetious, refined, 
and attractive, all in one show. Syn. : 
Madge Bellamy. Ant. : Bcbe Daniels, 
Fannie Brice, Texas Guinan. 

Leslie Fenton. 1. Shadowed by unfor- 
tunate breaks; unlucky. 2. One possess- 
ing innate ability for dramatic expres- 
sion. Syn. : Ralph Forbes. 

What tke Fans Tkink 

John Gilbert 1. One who is extremely 
handsome and romantic. 2. A person 
who can play a great lover one time and 
a virile he-man another, with equal con- 
viction and sincerity. 3. Having the 
power to attract members of both sexes 
by his warm personality. Ant.: Ramon 
Novarro, Gary Cooper, Nils Asther, Ben 
Lyon, Gilbert Roland. 

George O'Brien. One who is best 
deserving of the term "ideal American'' 
among his associates in Hollywood. Syn.: 
Charles Farrell, William Haines. Ant. : 
Adolphe Menjou. 

William Powell. 1. Capable of making 
every role a great one by virtue of sin- 
cere treatment and careful study of de- 
tails. 2. One famed for "stealing" pic- 
tures before the very eyes of the great- 
est actors in the business. Syn. : Lewis 
Stone, Tully Marshall. 

Eric von Stroheim. 1. Any combina- 
tion of rare talent that goes toward mak- 
ing a real genius. 2. One gifted with an 
alchemic power to bring certain dormant 
human attributes to the surface in others. 
3. The name of the greatest director the 
world has ever known or ever will know. 

Fay Wray. 1. The one actress who 
best befits the term "ideal American 
girl." 2. One who is intelligent, refined, 
beautiful, and spiritually charming. 3. 
The name of a really fine actress. Ant.: 
Clara Bow, Alice White, Joan Crawford, 
Nancv Carroll. Donald MacCampbell. 

1010 South Forty-fifth Street, 
Philadelphia, Pennsylvania. 

"There Is No Age." 

"The Switchboard Operator" certainly 
roused my ire when she brought age into 
the question regarding John Mack Brown 
and Mary Pickford playing together. No 
matter what her years, Mary is youth 
incarnate, and she is just as young as she 
looks. This business of prying into the 
ages of the stars is beyond me. In the 
first place, there is no age, except man- 
made years, and, in the second place, the 
stars' lives are their own — we only pay 
to see them act! Only jealous old-fogey- 
ism is constantly counting up years. Truly 
young and joyous folks remain in that 
state because they refuse to count up 
years. In God's sight there are no years, 
anyway. So forget them and you'll be 
lots younger yourselves, and so will the 
stars. For my part, the less I know re- 
garding a player the more interesting be- 
comes the picture itself. 

D. E. Bilsox. 

Palm Avenue, 
Los Angeles, California. 

Figure That Out. 

All thi- talk of the stars not answering 
letters and keeping quarters makes me 
anxious to add my word. 

I wrote Richard Barthelmess, inviting 
him to become an honorary member of 
the club of which I am president. In 
about six weeks a printed card came back 
to me, with the prices of his photographs 
on it. And I hadn't even mentioned a 
photo. How do you figure that out? 

Clara Bow, Mary Brian, Neil Hamil- 
ton, and James Hall did the same thing 
exactly. Do the) - just take it for granted 
that we want pictures? 

Elizabeth Mayxard. 

1 Doden Lane, 
Flushing, Long Island, New York. 

A Word for Old-timers. 
Most of the actors get better every 
year they're on the screen, I believe. 
Betty Compson is a fine example. When 
Miss Compson was playing for Para- 
mount, her acting frequently left much to 

be desired. Her recent appearances place 
her in the front rank. She looks finer 
than ever. Anita Stewart, Theda Bara. 
Jack Pickford,* Nazimova, Cullen Landis. 
and Henry B. Walthall and others are 
among the best actors the screen has ever 

I read recently that Theda Bara was 
making voice tests, and I hope that some- 
thing definite comes of them very soon. 
There should certainly be a place on the 
screen for these old favorites. Just be- 
cause they seem to have dropped from 
view is no sign that public interest in 
them has entirely abated. Of course, I 
have many favorites among the newer 
stars, and I think some of them are due 
for long careers. 

Several nights ago I saw one of the 
most beautiful pictures it has been my for- 
tune to see for some time — Ramon No- 
varro, in "The Pagan." I have read all 
the letters comparing John Gilbert and 
Ramon Novarro. I should like to know 
in what picture Mr. Gilbert gave as beau- 
tiful a performance as Ramon Novarro's 
Henry Slwcsmith? 

Theodore T. Cavanaugh. 
246 Hackensack Street, 

East Rutherford, New Jersey. 

Moviegoing Is Complicated. 

'Tis a strange, new film world to which 
the talking pictures are introducing us, 
all unfriendly and forbidding, and I am 
finding it very difficult to adapt myself 
to it. No longer can I choose my enter- 
tainment by selecting one of my favorite 
film stars. They are not there any longer ! 
Unfamiliar -names greet my eyes every- 
where, emblazoned on placards and elec- 
tric signs — "The Four Marx Brothers," 
in "So-and-so" ; "Helen Twelvetrees," in 
"This" ; "Walter Huston," in "That." 
Great stage stars in the States, maybe, 
but their names convey just nothing here. 
We've never heard of them ! 

No doubt these people give very ad- 
mirable performances, but I'd rather they 
had stayed on Broadway, where they are 
probably more appreciated, and let the 
screen stars continue to top the bill. 

Names like Ronald Colman, Gary 
Cooper, and Charles Farrell are world 
renowned and really mean something. 
Constance Colby. 

160 Farnaby Road, 
Bromley, Kent, England. 

A Retort to Barthelmess. 

Recently we read of the snobbishness 
of Richard Barthelmess in Mexico City, 
when • he said, "I am a married man and 
not interested." Please send him this lit- 
tle message from us : "Since you are 
married, we are not interested. We used 
to walk miles to see your shows, but now 
we wouldn't go to one even if it were 
across the street." 

Alice White is the biggest ninny we 
ever saw on the screen. She is nothing 
but a mockingbird trying to act like Clara 
Bow. But she never will. 

Here are four enormous bouquets and 
ten thousand rah-rahs! First, for Gary- 
Cooper, that tall, handsome, real, hon- 
est-to-goodness man, who can really act 
and seem natural. Second, for Neil Ham- 
ilton, that real comedian. Third, for 
Johnny Mack Brown, that handsome, tri- 
umphant, capable young hero who scored 
such a success in "Coquette." And, last, 
but far from least, for Conrad Nagel, 
who has the most admirable voice, win- 
ning personality, and who is the greatest 
actor on the screen. 

Helen Mackenzie, 
La Verne Wright. 

Monmouth, Oregon. Con QI] page 94 

Advertising Section 






A comedy of that claea of society 

which travels under, not in, Pulhnana. 

Directed by TAY GARNETT 



A picture thut Uirri9"Tin Pan Alley" 

inside out and reveals its human side. 

Directed by LEO McCAREY 

Supervised by 



A look at life from the viewpoint of 
those who have so much money they 
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in 11 fir; u .[ 

Directed by 



Associate Prod urcr 



<76's jwst Command 

tvitk Dorothy SebastUm 

All the world loves a lover and a "rookie" — and William 
Boyd is both in this romantic story of the making of a 
"first-class fighting man." The scene of the action is laid 
at renowned Fort Riley in Kansas, around which so 
much thrilling frontier history was written in the days 
of the old West. 

The participation of the entire Second and Thirteenth 
U.S. Cavalry regiments lends an authenl i<- military flavor 
to HIS FIRST COMMAND that quite lifts it out of the 
realm of "make-believe." If you want action, thrills, 
laughs and romance, see it when it comes to your local 
theatre ! 

Directed by <;RK<;oHY IV CAVA 

KVLPII HI.O< k. \ tiate Producer 


Pafhe & Picture 


Advertising Sfxtion 



o you \\(h)\ the Truth about 


Are they as bad as they're 
painted — or are they Painted 
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into cash registers? — Come to Dif lie 
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"The Painted Angel" will show you a 
new and more exciting Billie Dove, in 
show-off costumes, doing song and dance 
numbers that are just as clever as she is 
beautiful. You'll see and hear an honest- 
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Vitaphone" h the registered trademark oj the Vitaphone Corporation , 


PICTURE PLAY, December, 1929 Volume XXXI Number 4 

at last comes to the screen in the musical com- 

Photo by Elmer Fryer 

Marilyn Miller, she of the twinkling toes and thistledown airiness 
edy with which her name is always associated — •"Sally." Photographed entirely in color, it tells tlv if an 

orphan waitress who hecomes a dancing sensation and marries a millionaire— surely as fabulous a story as 
"Cinderella" and as popular a one. Here Sally is seen dancing at a fete champbtre, where her humble origin is 
made public and she flies away in supposed disgrace, only to be found and tunefully wooed by Alexander Gray. 


Photo Ijy Uinthc 

Simplicity, even frugality, marks 
Greta Garbo's mode of living. 


WHAT movie people do with 
their money is perhaps 
their own business, but 
Heaven help them if they aren't 
spenders in Hollywood ! 

There what they do with their money 
is everybody's business. The quickest 
way to achieve celebrity in pictures is not 
to spend when you are expected to ; it's so unusual 
that it's sensational. 

The gossips seize upon any indication of 
"Scotchiness" or conservatism to start their bally- 
hoo. They will talk about an incident indicating 
financial resistance for months, perhaps even 
years, after it has happened. They have never 
forgotten about the monetary inhibitions of 
Charlie Chaplin in the old days, any more than 
John D. Rockefeller, with his donations of 
new dimes, will be obliterated from memory 
of the general public. If there is laughter 
or deep attentiveness at a klatsch it is due 
generally to one of two things — somebody's 
romantic indiscretion, or an evidence of 
tightness on the part of some one who was 
supposed to respond to the good, old request 
of "Gimme." 

Stars as a class are not skinflints, but they 
all make mistakes at times in the proper, 
liberal gesture. A few may be downright 
tight, but they are the rare exception. The 
habit of life will dictate to a girl who has 

had a hard struggle, that she must not throw her money away. This 
goes also for the chap who has waited long and patiently for recog- 
nition, though women are more cautious than men in guarding the 

Of course, there are instances to prove that at certain times in 
their careers players must have been, without reason, just a bit 
miserly, and that is using a mild word to describe it. 

There was, for example, the wealthy star who invited another 
star to a lunch that consisted of pickles and coleslaw. It seems that 

Stingy? No 9 Just 

Time was when being really and truly a star meant 

old days are no more. Now Hollywood finds more 

holding onto their money. Read this entertaining 

By Edxtfin 

when the invitation was given, the rich star specified her apart- • 
ment as the meeting place, and when her guest arrived, she 
suggested that they go to the delicatessen near by and get some- 
thing. On reaching it, she turned to the other and said, "You 
like pickles, don't you, and coleslaw?" Then, without giving 
her friend time to reply, she said, "Give me five cents' worth 
of each, and we'll go back to the apartment and eat." That 
was perhaps the lightest lunch on record in Hollywood, before, 
since, or even during the eighteen-day-diet craze. 

Other stars have grumbled over paying debts 
and bills, and gone on living luxuriously all the 
while. So much did this occur for a time that 
some of the shops in Los Angeles were not dis- 
posed to open accounts with movie folk, unless 
well introduced and authenticated. It was often 
discovered that those who caused the trouble 
were living beyond their means, as is the 
fashion not only in Hollywood, but many 
other places. 

Again, certain players have shown a very 
small attitude toward those who did 
them service, and more than one agent 
or publicity man can tell hard-luck 
stories of fees long overdue, and likely 
never to come in. "Oh, he's a terrible 
tightwad," is consequently not a phrase 
unheard on the Boulevard. 

Lydell Peck, Janet Gaynor's husband, 
will not need to curb his wife's ex- 







flinging roses and greenbacks riotously. But those funr.y, 
amusement in observing the strength of the stars in 
article and judge the wisdom of each case mentioned. 


It is the spectacular, not the- small-time incidents, that excite 
the most amusement and arouse the most comment, and that 
people never quit talking about. 

One such happened at the wedding of Rod La Rocque an< 
Vilma Banky, an event that will always be looked hack to as 
one of the red-letter days in the picture world, what with the 
ceremony being very late and the arrival of Tom Mix in his 
horse-drawn equipage. 

The wedding reception was the scene 
of a happening of unforgetable mirth- 
fulness, when one of the guests attempted 
to spear a turkey, and found that it was 
playing only the role of a pro]) in the 
festal banquet. Somebody with movi- 
esque ideas had conceived the- notion of 
arranging the buffet with scenic embel- 
lishments in which turkeys, geese and 
chickens, apparently nicely roasted, were 
conspicuous. But after the ineffectual at- 
tempts of the guest to procure a slice, 
a vigilant servitor was placed on duty to 
induce others to become interested rather 

Artificial food was displayed at the Banky- 
La Rocque wedding. 

in chicken salad, olive-and-nut sand- 
wiches, molded ice cream, and other dain- 
ties. Samuel Goldwyn staged the wed- 
ding, and a- his shrewd insight in busi- 
ness matters was widely recognized, 
coupled with certain statements he had 
made denouncing newspaper people for 
demanding too much hospitality, the inci- 
dent of the turkeys immediately became 
a Silas Marnerish titbit, widely recited, 
and will perhaps go on forever. Actually 
it might have been just a bit of clever 
scene setting that went awry when hungry 
guests started an attack on the edibles. 

Another incident of an entirely differ- 
ent character took place at a dinner of the 
Academy of Motion Picture Arts and 
Sciences, at which prizes are awarded for 
the best work of the year to movie folk. 
Janet (iaynor was the principal in this 

.Miss (iaynor was being honored for 
her work in "Seventh Heaven." and in 
the preamble of the speech that he made 
before the prize was given. William De- 
Mille, as master of ceremonies, laid em- 
phasis on the fact that the >tar did not 
belong to the organization, even goin 
far as to say, "I don't know why she 
doesn't, but perhaps she will become a 
member now." Janet ro^e. came forward 
to get the prize, and took her bow to large applause. Everybody was 
looking for her to whisper, at least, into Mr. DeM die's ear that she 
would lie pleased to become one of the august assemblage to which only 
the more noted stars belong. It would have been the appropriate 

But she only took the bow and retired, and her name isn't yet listed 
on the roster. Perhaps it was the Stage fright that prevented her from 
saying anything, and she forgot .about it later. Still, the question has 
been raised more than once, in the inner circle, as to why she did not do 
something about it. It was recognized, of course, that Janet's way to 

Ronald Colman is self- 
contained in everything. 


Stingy? No, Just — er — Careful 

Lon Chaney would give 
everything, but his wife 
let him. 

Charlie Chaplin is Hollywood's 
classic example of watchfulness. 

success was difficult in the be- 
ginning, and that she had to 
guard her income with much 
caution. The happening might 
not have meant anything, had 
DeMille not given it importance, 
and it is just barely possible 
that Miss Gaynor did not like 
being railroaded into anything. 

Adolphe Menjou has given 
occasion for criticism on one oc- 
casion, when he took what was 
considered a very small matter 
to the courts, suing for $25,000. 
This was the time a haberdash- 
ery firm manufactured and be- 
gan to sell a tie called the "Men- 
jou." Adolphe became exer- 
cised about it, because he felt it did not correctly represent his sartorial 
perfection. It was such a small issue, though, that it hardly seemed 
worth the. $25,000 suit. However, it is probable that only by making 
the amount as large as that he demanded could Menjou have stopped 
the objectionable merchandising. The whole thing seemed more pica- 
yunish than it was. 

Closeness 01 liberality in money matters is all relative, and stars, if 
they are criticized at all, are censured and kidded on that basis. If 
Miss Gaynor had been making a few hundred dollars a week, instead 
of $1,000 or more, the incident involving $100 initiation and $25 dues 
would probably not have been thought about. If Menjou had not been 
garnering $4,000 or $5,000 a week, the suit of $25,000 over a small, 
bow tie would not have seemed 

so foolish. — _ „ 

,,., , ... Ernest Torrence, a Scot as well as a 

When players are beginning character actor, is not expected to 
their careers, not much is ex- splurge. 

pected of them. It is known that nowadays, especially, their 
stipends are small, beginning around $50 or $75. It is diffi- 
cult enough for most of the girls to dress as they should on 
these incomes, and some of them have to resort either to 
making their own clothes, or if they are very lucky, indeed, 
to borrowing a nice dress from the studio wardrobe. Most 
studios help out their contract players with such ministrations, 
but the free lancer must rely on homelier domestic means to 
attract the eye at the premiere, or other function. 

The films are getting rid of a lot of their old flubdub — the 
idea that every one to be a really successful star should fling 
roses, roses riotously to the wind, and greenbacks. Norma 
Shearer, for instance, is one star who freely admits the spirit 
of conservatism, and colorfully traces it back to her Scottish 
ancestry. Most stars in her position would socialize elab- 
orately, but it is on the books that she has given only one 
pretentious party. The week-end open house is not observed 
at the Thalberg-Shearer mansion, as it is at others, especially in 
the Metro-Goldwyn company. Also Norma has been known to 
argue — well, a little — over money matters, especially when 
it conies to paying salaries, and she does not employ a large 
retinue. She is careful, though, to dress in the height of 
fashion and make an elegant appearance at every premiere. 

By contrast, Marion Davies is a munificent spender, but 
she did not have the hard struggle that Norma did in the be- 
ginning of her career, as it was well financed. She is also 
gifted with the Irish spirit of liberality. To such lengths is 
this carried in the all-inclusiveness of her guest list that one 
restaurateur was heard to remark, 
"My God, the restaurant business 
will go to pieces again — Marion 
Davies has come back to Holly- 
wood !" Marion can afford all this 
lavishness, because her personal for- 
tune is said to total several millions. 
Very few stars can count themselves 
in her class. 

Of the wealthier, Douglas Fair- 
banks and Mary Pickford have their 
inclinations toward conservatism, but 
they are far offset by their generosi- 
ties. One example of financial cau- 
tion that they observed, especially in 
Continued on page 100 


Just Fana?! 

Cliff Edwards and Benny Rubin show what would 
happen if certain figures of speech became actualities. 

"Hewas all oiled up," right, 

requires a different kind of 
lubrication than you think. 

Often you've said, "He was 
glued to the spot." Well, Cliff 
Edwards, above, left, and Benny 
Rubin illustrate the metaphor 
with results disastrous to Cliff. 

And Benny, below, shows just 

what a man docs when he 

plays the piano by car. 

When Benny R 

left, gets hot tinder the 
collar, Cliff Edward 
always on land w 
fire extinguisl 

"His face fell," below, 

and now what is poor 

Cliff to do when he 

plays his "uke"? 


Richard Arlen and Jobyna Ralston find happiness in the seclusion of their lakeside home, which is always 

open to the most "regular" Hollywood folk. 

Checking Up On Dick 

A close-up study of Richard Arlen shows that in spite of his rise to stardom, he is still the same natural 
youth of his struggling days, and one of the few players who do not act in private life. 

B? William H. McKegg 

IT is either gratifying, amusing, or painful to check- 
up on certain movie youths, on whom you have kept 
an interested eye during their climb to fame, and 
learn what new truths they have gleaned, since coming 
into a new estate. You can weigh very few without 
finding something wanting. 

For the past five years I have been watching Richard 
Arlen — from the time he played a bit in Colleen Moore's 
"Sal!y," under his real name, Van Mattimore, from the 
day he was placed under contract by Paramount, at 
seventy-five dollars a week, and until he recently be- 
came one of their stars. 

Now you might think I'm joking in repeating the 
trite, but often incorrect statement, that Dick Arlen is 
the most untheatrical, natural chap you could ever meet 
among the cinematic hordes. I know only about three. 
Dick is one of them. 

As an unknown bit player, during his first appear- 
ance on the Paramount lot, Dick worked with various 
one-time celebrities. I remember he greeted Agnes 
Ayres and others one morning as he came on the set. 
An icy silence was accorded him. His smile died away, 
and he walked miserably over to a corner by himself. 

These cuts used to hurt him. But to-day Dick has a 
good laugh, while the former high-and-mighty ones have 
faded into oblivion. 

In those early days Dick was almost less than an extra. 
He and Mary Brian were signed at about the same time, 
but neither was given a chance at anything worth while. 

While Lawrence Gray and Betty Bronson were getting 
the breaks, Dick and Mary remained in the background. 
To-day it seems to be the other way about. 

My more intimate acquaintance with Dick really began 
when I spent some time with him at Jacumba, on the 
Mexican border, during the making of "Beggars of 
Life." In the winter Jacumba is hot indeed. In sum- 
mer, when we were there, it is like the nether world. 
Not that I know, but I've been told what it's like by my 
friend, Mr. Arlen. 

At seven in the morning we left the small hotel, 
climbed into a freight car and were taken to a desolate 
spot ten miles from the town. 

One morning we went to a horrifying spot called the 
Carriso Gorge, an evil-looking place, through which a 
shallow stream irregularly flows. To a sensitive soul 
from Hollywood it looked exactly like one of Dore's 
illustrations for. Dante's "Inferno." Steep, beetling 
cliffs on either side made us all seem very unimportant. 
We were in the depths of the abyss, among huge boul- 
ders worn smooth by a torrent which comes hurtling 
through the gorge in the flood season. 

Dick and I were sitting in the shade. I felt a bit fed 
up, because I wasn't allowed to wander away. The 
reason being that he took delight in warning me not to 
stray, because snakes abounded. The wriggling little 
things hide under rocks and strike out at you for no 
reason at all, except that you have no right to go wan- 
dering alone in the Carriso Gorsre. 

Checking Up On Dick 





. . ... T , . 







Hi < 

B '' L • « 



All worries are not confined to bad-luck eras, Mr. Arlen declares after a siege of solicitors and souvenir hunters. 

Joseph Schildkraut once said in Picture Play that 
you could chase him with liver. Well, you could run me 
out of the country with a snake. So there you are. I 
had to sit still and listen to Dick talk. Afterward I was 
glad he had thrown the fear of snakes into me, and that 
I remained with him. 

"This is almost like it, isn't it?" Dick asked for the 
third time. 

I had just been wondering what would happen to the 
troupe if the flood came before its time, and swept us 
clear through the gorge, snakes and all, and what Para- 
mount would say on learning that so much unused film 
had been wasted. 

"Yes, isn't it like what ?" 

"Like hell," Dick explained. 

I could only recall my Dante, and agree. 

Mr. Arlen became classical, too, and designating some 
of his coworkers, said. "We hobos seem right at home 
here, representing all the vices." 

"Si, sir/nor. Sluggishness, paganism, lust, gluttony, 
violence, and treachery." 

"Yeah! You know them all, don't you? Look at this 
stream. It reminds you of what's-its-name? The river 
what-d'you-call-it ?" 

"Acheron," the classic scribe prompted, adding with 
a throbbing voice, "on whose bank are crowds of lost 
souls waiting for Charon to ferry them across." 

But Mr. Arlen wasn't getting a word in edgeways, so 
he silenced me with an authoritative gesture. He de- 
clared I was too high up, and that the stream was really 
the Styx, and that we were in the Citv of Dis, the lower 

The terrific heat made me agree. Let it be any hell. 
It couldn't be hotter, no matter to what depths we went. 

Back at Jacumba, Jobyna Ralston, who is to Dick 
Arlen what Beatrice was to my old pal, Dante, joined 
us for dinner. Jobyna, the bridge champion, was anx- 
iously waiting for us to swallow our meal, so the bridge 
game could begin. 

Nighttime was gorgeous. Wallace Beery — faithful 
man! — drove to a near-by field to fly home every night 
to his wife. Dick and T talked. Never once did he 
allude to himself or his work. Not until I commented 
on both. 

"I used to worry a lot when I was fighting to get a 
job," he told me. "The best thing that has come my 
way is the fact that I have worked up to my present 
position. I can leave all my worries behind. 

"When you have no money, no possessions what 

except the suit you are wearing, you learn what friend 
ship means, which people are worth while, and w' 
are fair-weather companions. T was always having 
worries and troubles in those days. When you're di 
and out you get all the troubles in the world — or - 

"Wings," which brought Dick such fame with the 
fans, had just been released. The future looked bright. 
But T always think there was something symbolic in 
getting to know him in that infernolike Carriso Goi 
for Dick was just coming out of a hard journey 

Time has gone on, as it usually does, since 1 T dodged 
snakes on the Mexican border. I )iek has achieved more 
success and is one of the most popular of the newcon 
to fame. 

I noted all these happenings with relish, and felt it 
was about time I paid him a visit at his home in Tuluc.i 
Lake — now you know what I mean ! Not in the lake, 
but by it. 

He was sitting on his lawn under the shade 
spreading tree. T was greeted with gusto, and we both 
sat beneath the foliage. Jobyna was away at rehean 
of a stage play. 

Tt was nice to see Dick so well placed. His home, of 
Spanish architecture, is very picturesque. Recalling his 
joyful outburst a year ago about having left all his 
worries with his bad-luck era. I remarked that in such 
sylvan surroundings any one could be content and 
happy, without a thing to trouble him. 

"Worries?" Dick almost howled. "Say. I have ttion 
things to worry me since I gained what success I have. 
than when I didn't have a dime !" 

This outburst was startling. But I didn't dare 
my mouth, for all kinds of insects wire dropping upon 
me from the overhanging tree. Before I could mutter 
a protest, a stranger drove up and wanted to show Mr. 
Arlen some things he bad for sale, and would Mr. 
len see and possibly buy them? Dick crossed the lawn 
and stepped over the ! sent the man off again, 

without a sale, and returned to me. 

"There you are!" Dick groaned. "It's like that all the 
time. now. I don't dare sit out in mv own front gard 
pie come up and speak to me. God knows how ,- 
find out mv address. T suppose they've heard that I live in 
Tuluca Lake, and go from house to house — to 
many — until they get here. FS 1 ' ""I 


Tne Stars 5 Secret Code 

It consists of lending a helping hand to those less fortunate, and never saying anything about it, but it 
never takes the form of charity. This intensely human story reveals the least-known side of Hollywood. 

By Helen Louise Walker 

Illustrations by Lui Trugo 

ONE of the nicest — and least publicized — traits of 
this fantastic film colony is its habit of taking 
care of its own people. The traditional, generous 
open-handedness of the stage is amplified here to extend 
to all branches of the industry. 

The custom cannot, by any stretch of language, be 
called charity. It is a sort of code of give and take — 
a business of the people who have jobs looking out for 
those who haven't. And it is a pleasant thing to see. 

It is one of the reasons, I believe, why people do not, 
as a rule, get very rich in pictures, even when they make 
large salaries over long periods. Because the moment 
any one begins drawing any sort of salary he is auto- 
matically called upon to look after one or several with- 
out work. 

While the salaries in pictures are large, the jobs are 
frightfully uncertain, and nearly every one who is suc- 
cessful now can remember times when he was broke 
and possibly hungry. In all likelihood, some friend 
or mere acquaintance helped him to tide over until his 
break came, and now he feels an obligation to do the 
same for some one else. 

There is an unwritten and unspoken rule that no one 
ever denies the possibility of any one's achieving suc- 
cess. If you are down, the colony takes it for granted 
that it is only temporary, and no matter how deeply 
your talents are hidden, your friends will give you credit 
for having some. 

No one ever suggests that you abandon your dream 
of acting or writing or directing, and go and get your- 
self a job with a wholesale-grocery concern. They can 
understand your sweeping out studios for a time, 
but not your working in a filling station. 

Stars, of course, or other members of the really 
high-salaried groups, always have a startling num- 
ber of relatives to support. It is perfectly amazing 
how few actors have even a second cousin once 
removed who is able to pay his own shoe bills. 
But that is not the thing I mean. It is the aid 
given to casual acquaintances which is surprising. 

I know a writer and his wife, for instance, who 
set aside a certain portion of his distinctly fluc- 
tuating income each year for these purposes. They 
have a comfortable establishment, and there is a 
small house at the back of their grounds which 
they lend to acquaintances who are unable, for 
one reason or another, to pay rent. With this goes 
light, heat, milk, and laundry, to say nothing of 
loans of actual cash for emergencies. The "guest 
house," I may add, is seldom vacant ! 

For some weeks last winter they had, as their 

guest, a girl who had once been of some importance in 
pictures, but who had slipped from her position because 
of ill health. She had undergone a serious operation 
and was completely helpless for a month or more, re- 
quiring constant attention of the most careful sort, night 
and day. She got it — along with sunshine, special food 
and freedom from financial worry and, at last, assistance 
in finding another position when she was on her feet 

Only a few days ago I heard a chap ask a friend for 
money to make the payment on his typewriter, so that 
lie might finish a story which he hoped to sell to a studio. 
Me was behind on his installments, and feared that the 
typewriter company would snatch the machine away 
from him before the opus was finished. 

Yet this same man had been keeping another chap 
for several days who, he said, was worse off than him- 
self, having no money, no food, and no place to sleep! 
A month from now both these men may be drawing 
hundreds of dollars a week somewhere — and spending a 
goodly portion of it to help some one else. They have 
both been in such positions before. 

Not only money, but time — which is often less plenti- 
ful — is given where it is needed, in the same casual 
fashion. Carl Laemmle, Jr., that youthful and ever-so- 
busy executive, left the studio every afternoon for weeks 
to spend an hour or so with a prop boy who was his 
friend and who was in the hospital seriously ill. Junior 
will probably be annoyed with me for telling this, but I 
think he is annoyed with me, anyhow, for a better 


People actually quarrel over the privilege 
of looking after the needy. 

Tke Stars' Secret Code 

A young man told me oi a time, some 

years ago, when he was working in a small 
joh on the M.-G.-M. lot and, owing to some 
trouhle at home, was in desperate need of 
ready cash. 

"I started across the lot," he said, "am 
made up my mind that I would stop the first 
man I met — whoever he was — and ask him 
to lend me some money. The first man 1 saw 
was Jack Gilbert. I doubted whether he even 
knew my name — I was just a kid and had the 
smallest sort of job there. But I stopped 
him. 'Jack,' I began, 'I'm in trouble 
and ' 

" 'How much do you need ?' he 
asked instantly. 

"I stammered that if he could let 
me have a hundred dollars, it would 

solve everything. He, gave it to me, then and there. 
Never asked me what was wrong, or why I needed it— r 
nor mentioned my repaying him. I did, of course, but 
it took me a long time. And I know Jack never would 
have mentioned it if I hadn't." 

" For the most part, such loans arc not repaid, nor is 
there any expectation of it. Picture people are a light- 
hearted lot and give their money away without using 
much judgment about it. I have never heard any one 
inquire whether an individual was deserving before 
helping him ! 

Richard Dix is known to be one of the most generous 
of actors and of course he is imposed upon. I happen 
to know that he was asked for money twenty-three times 
in one day — and came through every time. Xo income 
can stand a drain like that, and Richard's friends arc 
in a constant state of alarm over his open-handedness. 

When a certain actress had a period of bad breaks, 
she sold her household furnishings. Her friends paid 
two and three times what they would have had to pay 
in shops for the articles, and one of them paid her four 
hundred dollars more than the original price for her car! 

One young writer tells me he lived for four months 
without any money. His friends invited him out for 
all his meals and lent him enough for rent and cigarettes 
the first of every month. 

"I really think," he remarked, "that if I hadn't got 
a job, I could have continued on like that for a year 
or so." 

In case of any spectacular need, as when some one is 
ill and cannot work for a time, the purses of the entire 
industry open with the greatest promptness — even the 
purses of those who do not know the unlucky individual 
by sight. If he is Hollywood's own, Hollywood will 
take good care of him. 

I have seen people 
squabbling in the most 
undignified manner 
over who is to be al- 
lowed to assume re- 
sponsibilities of this 

Jack Dempsey and 
Estelle Taylor became 
very indignant once 
when other people of- 
fered aid to some one 
of whom they had 
taken charge. 

You are likely to 
find strange individ- 
uals living in homes 
of your friends. The 
presence of these odds 

Stars always have a 
startling number of 
relatives to support. 

In time of need it's all right to earn money by sweeping out 

a studio. 

and ends "i hu- 
manity ma) 
haps never be 
explained to you, 
I) u t y O U can 
pretty well 
pend upon it that 
they arc the ob- 

i of tin- I 
ual good will oi 
their hosts. They 
are treated for 
all the world like 
favored gu< 
and the chances 
are that there is 
real affection be- 
tween them. 
Sometimes the guesl will be an actor or a director of 
a bygone day, and the friendship will be one of long 
standing in the profession. Again it will be a youngster, 
who needs a little boost while he is trying to :',et started. 
But there he is —as much at home as a brother or sister. 

a situation peculiar to Hollyw '• 

I sat in the office of a woman well known in the pic- 
ture business the other day. Another woman entered, 
one of those most irritating and pathetic spectacles in 
the whole industry — tin- mother of a movie child. 

"I am going to be turned into the street to-morrow," 
.she said. "What an- you going to do about it?" And 
she sat back, with folded arms, having Cast her burden 
upon another, a more efficient pair of should' 

My friend gazed at her with some dismay. "Dear! 
Dear! Why didn't you tell me sooner?" she fluttered. 
Then, after a few moments' thought, "Well, I think 1 
know where I can get you something to do. If not. 
you'll just have to bring your little girl' and stay with me 
until we can get you settled !" 

And she dropped her own important work to scurry 
around, looking after a woman who was trying to live 
by exploiting her child. 

I heard another motherly woman talking to a young 
actor at a tea party a day or two ago. The boy. a 
stranger in Hollywood, was engaged in that most difficult 
business of making acquaintances and breaking in. 

"I want you to promise me something." she was urging 
him worriedly. "I want you to promise that you will 
not miss any meals. Oh. you needn't blush ! Young 
people do miss meals sometimes when they are getting 
started, if they let their silly pride stand in their way. 
Now, if you need anything you call me and say, 'I'm 
feeling a little low to-day. I'd like to come over for 

tea. or for dinner.' I'll 

And that is really the 
;L;ist of the entire matter. 
I f 1 [ollywood did not look 
after its own it might lose 
some very important tal- 
ent. Every one has had 
to struggle. Every one 

has had to be helped by 
.some one in some way or 
other. Therefore it is un- 
important to repay the 

•n who has 1 
you. It is your responsi- 
bility to help the next 

I like to know tl 
things. And I thought 
that you would, too. 


Teetering On 

When the stars slip on ballet slippers and tarlatan 

skirts — or none at all — they become sprites of 

enchantment who beckon and lure. 

Bernice Claire, left, a 
newcomer to pictures in 
"No, No, Nanette," not 
only dances divinely, but 
sings the leading soprano 
role in the musical com- 

Marilyn Miller, the in- 
comparable, stands, right, 
defying your eyes to 
catch up with her as she 
darts through the mazes 
of her dances in "Sally." 


« a 

Joyce Murray, above, a 
Metro-Goldwyn "find," is 
said to hold Hollywood's 
record for dancing on her 
toes the longest time. 

We didn't know that Loretta 
Young, left, was a toe danc- 
er: but, for that matter, we 
never suspected that she had 
the lovely speaking voice 
she revealed in "The Squall" 
and "Fast Life." So we 
gladly applaud her dainty 

Portia Grafton, right, a dancer 
trained from childhood, is now 
a member of the Albertiria 
Rasch ballet which won the out- 
standing applause of "The Hol- 
lywood Revue" and promises to 
do as much in Moran and 
Mack's "Why Bring That Up?" 

Maxine Cantway, righl 
far is best known to fame 
as the typical chorus pirl of 
the singing and dancing pic- 


rhcpto by Fryer 

Leatrice Joy's return to films was short 
lived, and she is now in vaudeville again. 

WELL," announced Fanny, with 
an air of finality, "Gloria's 
done it now." 
My memory raced around trying to 
alight on siime recent rumor about 
Gloria that would be significant enough 
to occasion such an outburst. But all 
T could recall was a dispatch from 
Europe that la belle Swanson had ac- 
cumulated the largest and most elegant 
collection of pajamas ever gathered to- 

"Hollywood will just have to dis- 

riiotu by Sasha 

ij^/he *3y&iander 

card any cherished notions that she is on a decline," 
Fanny continued vociferously. 

My mind was still on pajamas. I wondered idly if 
Gloria intends going about publicly wearing them. The 
beach season will be over by the time she gets back to 
Hollywood. Maybe she will wear them to the Mont- 
martre. Probably not. Her extremes are all in the di- 
rection of restraint and dark colors and simple lines. 
But maybe she will change. Maybe just once, for my 
sake, she will show up there in an outfit so startling that 
it will put all previous records to shame. 

Louise Fazenda and Clara Bow have retained the title 
for startling Montmartre long enough. Louise went there 
once in convincing Negro make-up. She had been work- 
ing in "Ham and Fggs at the Front." Clara won her 
round in the competition by dashing in for a moment in a 
scarlet bathing suit. I don't like to have Gloria outdone in 
anything. But my musings were interrupted by Fanny. 

"A friend of mine in London wrote me all about the 
opening of Gloria's new picture there. It must have been 
marvelous. The letter goes on and on for pages, but I'll 
tell you just a few of the high spots." 

My cries of "No, no; I want to hear all," were ignored. 
The woman at the next table, whom I identified as one 
of the ex-burlesque queens who had been working for 
Paramount in "Applause," eased her generous bulk closer 
to our table and tilted an attentive ear in our direction. 

Out of the depths of her hand bag Fanny produced a 
bulky manuscript that she consulted. 

"The theater was jammed," she announced, "and there 
were about five thousand people crowding Regent Street 
outside. Police reserves were called out and a line of 
bobbies, with locked arms, held the crowd back, or tried 
to, while Gloria arrived. Staid, old London forgot its 
dignity and the crowds roared. It is the first time that 

an American star has held a 
film premiere in London, 
and I suppose the crowd 
wanted to show its appre- 

"The audience was de- 
lighted with the picture. At 
one point, just after Glo- 
ria's first song, there was 
such a demonstration that 
the picture had to be in- 
terrupted while she went 
on the stage to take a bow." 
"That's something new," 
I remarked casually, "for a 
picture to be so good that 
the audience wants it 

The burlesque queen 
moved over between us and 
said to Fanny, "Don't pay 
any attention to her." 

She and Fanny hung over. 

Pola Negri returned from 
Europe, but not to make pic- 


Fanny the Fan relays the 
good news from London 
and chats about film favor- 
ites who have recently 
visited New York. 

the letter together, and I gathered from 
their delighted chuckles that Gloria's 
triumph was complete. 

"I worked with Gloria in a picture 
once," the friendly burlesque queen 
confided. "It was 'Xaza.' I was just 
one of the crowd, hut one day, when 
I was all fagged out, she let me sit in 
her chair for a while. It was the only 
comfortable one on the set. 

"After that, the other extras were 
so jealous that they used to make a 
bee line for her chair every time she 
left it for a minute. One day there 
was a little trouble over who got there 
first. It was right in the midst of a 
big dramatic scene. There was hair 
pulling, and shoving, and quite a lot of 
people got drawn into the fight. The 
director bawled everybody out, and 
said that none of them would ever 
work in a picture of his again. Gloria 
just laughed. 

"I've worked with 
some great actresses in 
my day." She fastened 
an accusing eye on me. 
quite as though she knew 
that I was wondering if 
it were in Billv Watson's 
"Beef Trust." 

"And she's one 
of the best. I 
hope her pic- 
ture's a knock- 
out. It will have 
to be to be better 
than 'Applause.' 
That's the one 
we just made. 
Helen Morgan's 
a good actress, Pholo by 
too, but the fans L " uiM ' 
will never take her to 
their hearts the way they 
did Gloria. Her part's 
not sympathetic enough." 

Fanny looked a little 
distrait. Here was some 
one whose volubility 
drowned her out. She 
offered no remonstrance 
when our uninvited guest 
took her departure. 

"New York's really 
beginning to look like a 
metropolis, isn't it?" 

Hedda Hopper is back on 
the Metro-Goldwyn lot 
for "The Rogue's Song." 

hy Fryer 
Loretta Young is not in danger of getting a swelled head, 
because she is still the most diffident girl in pictures. 

Fanny asked, just as if she cared what I thought. "The 
last few picture openings have had a sprinkling of celebri- 
ties among the reviewers, and a lot of picture people have 
dashed through New York on their way to Europe. 

"At the opening of Helen Morgan's stage play. 'S 
Adeline.' there were a lot of familiar faces. Phyllis Haver. 
Lillian Gish, Jeanne Eagels, and Dorothy Daltotl were all 
there. Phyllis looks radiant. In fact, she looks so lovely 
it makes me sad whenever I think that she is really serious 
about retiring from the screen. 

"Lillian Gish is leaving for Hollywood in a few da;, 
make 'The Swan.' That's an ideal vehicle for her. and it 
is nothing short of inspiration to have Marie Dressier play 
the domineering old queen. She will make Lillian 
fragile. All tin- cast needs now is Hedda Hopper. She and 
Marie would have so much fun working together, and what i- 
a little more important to the audience, -he would be grand in 
the picture. As 1 remember the play, the royal ladies wei 
pretty dowdy, but I will forgive them if they change the Si 
just enough to let Hedda play a royal snob who i< -mart 

"Hedda has paused just long enough in her real-* 
lion- to work in 'The Rogue's Soul;' for Metro-Goldwj 
finds time to do everything but write letters. Don't kl 
my fondness for her never fade-, all tl red." 

While Fanny paused for breath. I demanded n< 
othy Gish. 

"Oh, she l- t" play in 'The Matriarch' on the 
she will probably make a picture here for an : 
One of the English -tudio- can't gel t' 
installed for several months, so th( 


Over the Teacups 

After the rigors of "Sunnyside Up," Sharon Lynn dashed away 
for a vacation. 

pictures here while they wait for it. And, of course, 
since Dorothy is one of the darlings of the English 
public, they want her to star in their pictures. 
Whether she does or not depends on the run of 
'The Matriarch.' 

"What I can't understand is how it happens that 
her husband, James Rennie, hasn't been drafted into 
talking pictures. He was pretty good in silent ones, 
and his voice is one of his greatest assets. They 
will get him, sooner or later. Lately he has been very busy. 
He collaborated on a play called 'Jehovah Joe,' and played the 
lead in it when it was tried out in Greenwich, Connecticut. 

"And that reminds me, neither Irene Rich nor Doris Kenyon 
put in an appearance at the Greenwich Theater, though they 
were both announced to do plays there. Irene has finished 
'They Had to See Paris,' and is working eastward in vaude- 
ville. Doris has evidently decided to go in for singing in a 
large way, as she is giving a concert in New York soon. Milton 
Sills will stay in the East long enough to see her through that, 
and then he is returning to Hollywood to make pictures again. 
He has quite recovered from the breakdown he had last spring. 
He and Doris have been at their cottage in the Adirondacks, 
living the simple life between singing lessons. 

"Screen players simply won't stay put any more. They no 
more than finish the last scene in a picture when they're off globe- 
trotting, or touring in vaudeville, or going into business. 

"You'd think Betty Compson would be busy enough leaping 
from studio to studio making pictures. But no. She has applied 
for permission to build a hotel in Hollywood. Estelle Taylor had 
her tonsils removed, and the effect on her voice is said to be noth- 
ing short of miraculous. She has been visiting Willard Mack at 
his Connecticut farm, rehearsing a vaudeville sketch. 

"I thought Leatrice Joy was all set to stay 
with First National for a long time, but I was 
wrong. She is down in Ohio on a vaudeville 
tour, and Lois Wilson is making one of the 
pictures slated for Leatrice. Theda Bara's go- 
ing into vaudeville, too. She is to do one of 
those Grand Guignol plays that give strong 
men the shudders." 

"And I thought vaudeville was dead," I re- 
marked idly. "Does any one ever go to vaude- 
ville shows except scouts for picture com- 

Fanny looked upon that as an entirely use- 
less question. 

"After all," she observed, "all a neglected 
film player wants in a vaudeville audience is a 
few enthusiastic relatives and a talent scout. 
Who wants to spend a third of her time on 
branch-line trains, and the rest in small-town 
theaters? Vying with trained seals and ven- 
triloquists' dummies !" 

"Did you see Evelyn Brent?" I asked, in an 
effort to get her in a more cheerful frame of 

"Just a fleeting glimpse," Fanny admitted 
regretfully. "She didn't stop over in New 
York at all, but arrived just in time to catch a 
boat for Europe. George K. Arthur dashed 
through town, too. He is going to work in 
one of Adolphe Menjou's pictures in France. 
Jack Pickford sailed on the Bremen the other 
day. He says he is through with pictures, but 
two big producers are willing to put up an 
argument about it. 

"Dolores and John Barrymore 
are in town. You never run 
into them at restaurants or first 
nights, but if you hear of an ex- 
hibition of ship models anywhere, 
the chances are very good that 
they will be among 
those present. They 
are hurrying back 
West in a few days. 
v John has to start on 

a picture for the 
Warners. Dolores 
won't make any more 
pictures until spring, 
owing to a vital in- 
terest in layettes and baby 

" 'Bee' Lillie is in town 
after finishing a picture out 
West. She ''s full of en- 
thusiasm for Louise Fa- 
zenda. In fact, they have 
a great mutual admiration 
society. Marilyn Miller 
has come back, too, looking 
too exquisite to be real. I 
defy you to find a prettier 
girl anywhere. Just let her 
come into a room, and she 
makes all the other women look 
like wilted lettuce, or a last year's 

"Irene Bordoni arrived the 

Nancy Carroll's return home 

brought the discovery that she 

isn't the only celebrity in the 


Over tne Teacups 

other day, and you can't imagine what she is 
going to do." 

"A play," I yawned. 

"Oh, no." Fanny went on, in superior lash- 
ion. "She has gone in for civic pride and 
social consciousness, and all that. She is or- 
ganizing a theatrical committee to work for 
Jimmy Walker's renomination for mayor. All 
during his campaign, free movies are to he 
shown in Times Square urging his reelection. 
Miss Bordoni will probably sing the campaign 
song in a talkie. Now I ask you, what other 
candidate can compete with that ?" 

Unless some other candidate can get Lind- 
bergh to take voters for a ride, I am afraid the 
election is practically settled as soon as the 
show begins. 

"And have you heard that Nancy Carroll is 
here visiting her home town?" Fanny babbled 
on. "Only to find that she isn't the only celeb- 
rity in the family any more. Her kid sister. 
Terry, is working in a Pathe musical short, 
and doing so well that a big success is predicted 
for her. If the rest of the brothers and sisters 
follow her example, the Eaton family with its 
contribution of five to the screen will look like 

"Are there as many in Nancy Carroll's 
family as that?" 

"Oh, lots and lots of them, and then some 
more," Fanny replied, with a large gesture. 
"I've forgotten the exact figure, but it is up in 
the epic super- feature class. 

"If Terry wants to establish her- 
self as an individual, and avert all 
risk of being confused with Nancy, 
all she will have to do is to appear 
fully clad in all her photographs." 

And only the other day Fanny was 
complaining because 
Nancy Carroll wears 
smart clothes with the 
air of Broadway, 
rather than of Park 
Avenue! There is no 
pleasing some people, 
unless you happen to 
be born Gloria Swan- 

"Jack Holt and Ralph 
Graves flew East for the 
opening of 'Flight,' " Fanny 
informed me with no great 
interest. "Columbia wanted 
Lila Lee to come, too, since 
she is not only the lead, but 
the only girl with a promi- 
nent part in the picture. 
But Lila was working, as 
usual, and couldn't. 

"Lila Lee and Josephine 
Dunn are running neck and 
neck for the record of mak- 
ing the greatest number of pictures 
this year. Tt must be pretty hard 
on them working so steadily, but it 
is great for audiences. 

"The audience at the Capitol 

By improving her make-up Lola 

Lane is now one of the acknowledged 

beauties of the screen. 

>' Honunel 

Evelyn Brent skimmed through New York at such 
high speed that she just had time to reach the 

Theater simply adored Josephine Dunn, in 'Our 
Modern Maidens.' Just a- every one thought silent 

pictures were a relic of the past, along came that 
one and drew such crowds that it was held over for 
another week. 

"The picture was entertaining, but it was weird 
after a steady diet of audible films, to have Anita 
Page strum a ukulele without a sound coming out. 

"Dolores dil Rio's almost-silent 'Evangeline' has been 
drawing crowds in Brooklyn, but maybe her personal 
appearances with the film have something to do with it. 
Brooklyn has been very polite to her, all things cor 
ered. The day she was supposed to arrive, the United 
\rti>ts office gathered up a large crowd of photographers, 
reporters, official greeters, and people who just went along 
for the ride, to meet her at the Pennsylvania Station. The 
train came in. but without Miss del Rio. Without notifying 
any one, she bad stopped off at Pittsburgh to see Teddy Jo 
a master of ceremonies who is her currently reported fian< 

"< >h, well, it got his name in the papers, even if it did 
.\li-> del Bio in bad with the officials who were waiting t" 
receive her. 

"Some one promoted a content that must have been a s> 
Strain on her disposition. All the girls who had been told by 
their friends that they bore a startling resemblance to Dol 
• !el Bio wire invited to meet her. Then she had I I the 

one that she thought looked most like her, and award ! 
wrist watch. Well — when she looked at that 
must have thought that practical joking v, ant. I dare 

I inui 'I on pagi 


Strange Roads 

There are five major roads to screen success. 

the most spectacular, incredible of any. Yet it is 

tells you what it is, who have tried it, 

By Al 

l'hoto by Bruno 

Josephine Dunn accompanied a friend to the Paramount 
school and was urged to enroll, though her friend was 


ALMOST every girl would 
like, to get into the mov- 
ies. And almost every 
boy. "I'm a screen-struck cu- 
tie" could be the national theme 

"You're just <*s pretty as 
Clara Bow any day!" Minnie's 
boy friend will tell her and, in 
her secret moments before the 
mirror, Minnie thinks so her- 

But Clara Bow is in the mov- 
ies and Minnie isn't. Minnie, 
standing over the dinner dishes, 
si^hs and yearns for her share 
of Hollywood glory. 

"I low can I get into the mov- 
ies?" she asks herself. She 
asks her friends and the fan 
magazines. The answer is al- 
ways the same : "Not a chance ! 
You have to have pull to do it." 

That isn't all the answer, of 
course. It takes considerably 
more than pull. 

How does one get into the 

Every one knows, of course. 
what might he called the five 
major roads to screen success. 

You can make good first on 
the stage, so that film producers 
will see you and knock on your 


dressing-room door with a contract. Ina Claire, Mary 
Eaton, Ruth Chatterton — of course there are scores of 
recently prominent screen players who are recruits 
from Broadway. Not to mention the many established 
film stars with preliminary stage experience. 

You can win a beauty contest — or can you? Clara 
Bow did, and Lois Wilson, and Mary I hilbin, and 
several dozen others. 

You can start as a model, either for magazine covers 
or fashions, so that your face becomes your fortune 
and film producers pursue you. Like Alice Joyce, 
Norma Shearer, and Anna O. Nilsson. 

You can, if you're of the masculine gender, become 
a champion cowboy, with your riding or lassoing a 
coveted screen asset. Like Tom Mix, Ken Maynard, 
and Buck Jones. But Westerns aren't so popular 
these days. 

Or you can struggle up the tortuous hill from extra 
roles, as Gloria Swanson, Richard Arlen, and Ricardo 
Cortez all did. 

But all these stories have been told. They are the 
customary paths trod by the feet of the great on the 
road to stardom. 

This story deals with another road to screen fame 
that isn't on the bonks at all. The most spectacular, 

incredible way of any. Into 
the movies by accident ! 
Just a little, lucky chance. 
Many screen-struck boys 
and girls have sat and 
sighed for a chance at fame 
and glory. But only the 
lucky few have had that 
fame and glory flung into 
their laps. 

Sue Carol, for instance. 
Sue, in the days when she 
was Evelyn Lederer, was 
a belle of Chicago. Her 
parents had money. Sue 
was reared in luxury. She 
went away to school, to 
Kemper Hall in Wisconsin, 
to the fashionable National 
Park Seminary in Wash- 
ington. If she thought of 
the movies at all, it was in 
just the same way that little 
Minnie does, fretting over 
the dinner dishes : a lovely, 
nebulous dream, never to 
be realized. 

And then Sue — or Eve- 
lyn — went to Hollywood on 
a visit. She too, like any 
other tourist, was thrilled. 

Nick Stuart, as errand boy, 

delivered a parcel to Tom 



to Stard 


Every one knows them all. But there is another, 
the simplest. This brightly authoritative article 
and what manner of success is theirs. 


Photo by Autrcy 

Fancy seeing stars in person! She did see them. She 
saw, among others, Douglas MacLean, then his own 
producer. He took one look at Sue. And then an- 
other, for Sue is a girl one looks at twice. 

"How would you like to take a screen test ?" he asked 
her. And any girl knows the right answer to that one. 
Sue took the test; she got a contract. The public first 
saw her opposite Douglas, in "Soft Cushions," her 
more-or-less soft cushion to screen success. 

Virginia Cherrill's career is surprisingly identical 
with Sue's. Virginia, too, grew up in Chicago. She. 
too, had wealthy parents. She even attended the same 
school Sue did — Kemper Hall in Kenosha, Wisconsin. 
Perhaps there's magic in that formula, for when Vir- 
ginia went to visit Hollywood, just as Sue did, she 
met Charlie Chaplin. And Charlie gave her the lead 
in his forthcoming picture, "City Lights." 

Nick Stuart, Sue's fiance, also traveled the accidental 
road to screen fame. Nick, coming over from Rou- 
mania at the age of nine, went with his parents to live 
in Dayton, Ohio. His next home was in Chicago, 
where he supported his mother and younger brother 
after school hours. And then they moved to Los An- 
geles, hecause of that famous chamhcr-of-commercc 
climate. There, among 
other jobs, Nick found 
work in a sporting-goods 

One day he had to de- 
liver a pair of revolvers 
to Tom Mix at the Fox 
studio. This was a thrill ! 
The magic charm which 
led inside the hallowed 
gates. Fearing he would 
never get inside the holy 
ground again, Nick hung 
about the lot. And finally 
summoned courage to ask 
for a job at anything. 
That must have been his 
lucky day. He got the 

Alice White is another 
of fortune's favored. Alva 
White they called her, in 
Paterson, New Jersey. 
Her mother was a chorus 
girl and Alice lived with 
her grandparents until she 
was six, and then she went 
to school. A convent, a 
public school, and then a 
girl's school in New Ha- 
ven, where Alice spent 
most of her time hanging 

Richard Walling was a 
camera man before he be- 
came an excellent actor. 


l'hulu Uj Bl 

Sue Carol paid a purely 
social visit to Hollywood, 
but remained as an actress. 

out the window watch- 
ing Vale students as they 
passed by. 

By the time she was 
grown, her grandparents 
had moved to 1 lolly- 
wood, "i lollywood ought 
to be fun," thought Alia 
— as what girl wouldn't ? 
So she decided to 
them there. She took a 
secretarial course, and 
one job followed .an- 
other. She became a 
telephone operator, then 
went back to her type- 
writer. Finally she got 
a job as script girl at the 
Chaplin studio. In an 
idle moment, a cai 
man offered to take some 
test-; o\ her. Am! 
pricked up its ears, but 
the tests were terrible. 
She took them annul 
the studios in vain, 
seemed the end of her 
film career. And then 
the lucky accident C 
along. An a<rent sav 
one day. 


Strange Roads to Stardom 

George O'Brien 
was also a cam- 
era man when 
Tom Mix "dis- 
covered" him. 

Photo by Fryer 

Alice White was a studio worker, with never a 
thought of acting until some one suggested it. 

"Let me be your manager," he said. 

"Don't be silly," said Alice. "What would a 
script girl do with a manager?" 
| "Become a star," said the agent, "if you take 
off ten pounds." 

: So she took off ten pounds, the agent took her 
to First National, and First National took her to 
a fountain pen and a contract. 

June Collyer is the daughter of Clayton Heer- 
mance, a New York lawyer. With wealth, breed- 
ing, beauty, charm, June — who was christened 
Dorothea — had all the qualities for screen suc- 
cess. But so have thousands of other girls all over 
the country. June just happened to be fortunate. 

At a dinner party one night she met a friend of Allan Dwan, the 
director. "The very girl!" he told her. "Mr. Dwan is looking for 
some one like you." He spoke of the scores of screen tests Mr. 
Dwan had been making at Fox's New York studio, in a futile 
search for some one to play the society girl in "East Side, West 
Side." "Why don't you try for it?" he asked. 

So June tried. Without, of course, much hope of success. But 
it turned out to be June's lucky day ; she got not only that role, 
but many other roles. 

Josephine Dunn was a chorus girl, but the stage was not her 
stepping-stone into the movies. She, too, found opportunity by 

The Paramount school was being assembled, and one day a girl 
friend asked Josephine to accompany her to Paramount 's studio at 
Astoria, Long Island. The friend wanted to try for the school but 
Josephine had never thought of it. 

The school director looked at Jo's friend. "You won't do," he 
told her. And then he looked at Josephine — as one would! "Why 
don't you try for the school ?" he said. 

"Me? I haven't got the money." Tuition was five hundred dol- 
lars. Jo had never even seen that much money all at once. But 

that, it seemed, could be arranged by installments out of her 
future salary. And so Josephine became one of the class that 
introduced Buddy Rogers, Thelma Todd, and Roland Drew, 
then Walter Goss, to the movie public. 

Many lucky accidents have befallen those who worked around 
the studio. A job inside a studio, even if it's only sweeping 
floors, is sometimes the humble first step on the golden ladder 
to fame. 

George O'Brien was a camera man for Tom Mix pictures. 
Until, on George's lucky day, the star suddenly realized that the 
face behind the camera should be in front instead. So, on 
Tom's recommendation, George was given a screen test and 
the lead in "The Iron Horse." 

Richard Walling was also a camera man for Fox. And then 

an astute director 
woke up one day 
to his screen possi- 
bilities and he was 
given a lead in 
"The Midnight 
Kiss," opposite Ja- 
net Gaynor, in her 
first leading role. 

Lawrence Gray 
worked in the busi- 
ness department of 
Paramount, until 
Bebe Daniels, see- 
ing him, suggested 
that he was much 
too handsome to be 
leaning over a desk. 
Patricia Avery 
was a stenographer 
at the Metro-Gold- 
wyn studio when 
her screen possibil- 
ities were noted. 
Continued on page 92 

Virginia Cherrill's 
life and accidental 
entrance into pic- 
tures are strangely 
like Sue Carol's. 

Hotter and Hotter 

That's the pace set for themselves by Eddie Nugent and Sally 
Starr, who sponsor with enthusiasm the new dance which they 
call "Boom-Boom," and which they willingly illustrate on this 






/ *"CTP * A 

With their backs 
turned, right, tiny 
fall into ;i bur- 
lesquc walk which 
includes a comic 
stagger and inter- 
locked feet. 

The playful introduction of the partners, 
above, is accomplished with a low bow 
on Eddie's part and coyness on the part 
of Sally, with the right foot of each 

The graceful and cliarmiii 
mint, left, is interpolated in the dance 
whenever the mood of the dancers 
dictates, and consists of the alternate 
meeting of right and left I 

The frolick-some mood illusti 
below, occurs at the climax of the 
dance when both performers, • 

team footwork, point fingers at i 
other in a laughing "boom-bo* 


After a whirl and 
some jazz steps, 
they turn, left, and 
Sally gives Eddie 
a playful "boom- 
boom" w i t h her 
imaginary g u n . 
while he throws up 
his hands to indi- 
cate his helpless- 


WhataGu?! WhataGu?! 

An attempt to interview Glenn Tryon seriously turns out to be a lively task, with all the mugs of — er — 

rootbeer, and his verba] skippings all over the place. 

By Samuel Richard Mook 

IMAGINE a narrow ribbon of road winding through 
a peaceful countryside, with the shadows of clouds 
playing over the hills, and a group of little houses 
nestled at the foot of the hills. 

So far so good, except that the road is cement, and 
the houses are not the rustic cottages you may have 
been led to expect, but Spanish architecture of the sort 
indigenous to California. 

Picture one English house amid all these tamales, 
perched precariously on the side of the hill, where the 
wind plays through the windows, for despite its compact 
appearance it is quite spacious and the rooms are large ; 
and a formal, little garden sliding off the side of the hill 
into the lap of the road, with its beds of phlox and mi- 
gnonette, of hollyhocks and Sweet Williams. 

Suppose a personable young chap is lolling in a swing, 
with a book in one hand and a pipe in the other, with 
one eye cocked anxiously on the ribbon of road. Sup- 
pose it was Glenn Tryon. 

Suppose an ambitious., little Ford, piloted by Buddy 
Wattles, is chugging up to the foot of the steep steps 
leading to the swing, and a hot, perspiring individual 
descends from the Ford and starts up the steps. Sup- 
pose he stumbles and falls halfway down again. Sup- 
pose that individual were I. You'd be right, all the 
way through. 

Glenn and I snickered as I picked myself up. 
Perfect host that he is. he immediately soothed 
my fevered brow with a pail of — shall we 
say rootbeer? The colored maid filled 'em up 
again, and started to move away. "Mary 
makes this herself," Glenn complacently in- 
formed me, as his tongue started, chasing the 
sparkling foam around the edges of his mouth. 

"Then I'd certainly raise 
Mary's salary," I suggested. 

He sat bolt upright and 
smacked the arm of his chair. 
"Will you keep that trap of 
yours shut? She might hear 

"I sho' is heerd 'im," came 
Mary's voice from the far end 
of the room, "an' lemme tell 
yoit somethin', Mistah Glenn, 
that gemman sho' is speakin' 

His wire-haired terrier, 
Toby, tore into the room and 
gave us his conception of one 
of the horses in a circus gal- 
loping aimlessly around in a 
circle. On one of the rounds 
he happened to glance out of 
the window and saw a dog 
of feminine persuasion 
wandering disconsolately 

Glenn is such excellent 
company that one is ( 
tempted to let him talk 
regardless of an interview. 

among the hollyhocks. A series of staccato yelps inter- 
rupted the conversation. 

"I'm afraid," Glenn sighed, as he let Toby out into 
the fresh, clean air, "his amorous instincts are going to 
get him into trouble some day — a breach of promise suit, 
perhaps." He turned his fine, grave eyes on me — 
Glenn, I mean, not Toby — and solemnly said, "I think 
his private address book might prove an inspiration to 
some of our Boulevard sheiks." I looked out of the 
window and, judging from the manner in which they 
were rubbing noses, unless Toby had met the young- 
lady before, which I am disinclined to believe, Glenn's 
premise is certainly correct. 

"I suppose," he continued, "you want to know if I've 
starved in Hollywood, and the answer is 'No.' I don't 
know why people always seem to devour the morbid 
tales with such avidity. If you ask me have I starved 
in New York, I can say 'Yes.' " 

"Hey!" I interrupted, "you're skipping all over the 
place. Start at the beginning." 

"You mean T was born early in life,' and all that 
sort of thing?" 

"Well, no. You can start where you finished high 

"I finished high school," he began obediently. "I was 
always associated with the theater, even during 
my school days — anything I could get to do 
around one: usher, messenger, call boy, stage 
hand, super, or what have you? My father 
sold farm implements." 
"Hay, hay!" 

"Say, that's pretty awful. You ought to be 

ashamed of yourself. And anyhow, cut it out. 

You're only the writer — I'm the comic relief." 

"Relief is right," I said, 

again sticking the old beak 

into the — er — shall we say 

rootbeer ? 

"I finally went to New York 
to give the waiting world a 
chance to appreciate my his- 
trionics. That's when the 
starving commenced. I was 
fired from more jobs than I 
can count. What? Oh, I was 
just bum, I guess. But, in 
defense of women, I some- 
times got engagements that 
augured well. One, I remem- 
ber, was in a show called 'The 
Other Woman.' We rehearsed 
her, or both of them — this one 
and the other one — for nine 
long weeks, and then opened 
in Union Hill, New Jer- 
sey, preparatory to a New 
H York run. We played one 
performance and closed. 
Nine weeks shot to— to — 
well, wasted. I had car 
fare back to New York — 
Continued on page 112 



Photo by Irving ChldnofT 

GLENN TRYON'S humor, so buoyant Mid unflagging on the 
screen, masks a cold, hard common scn-e that in real life 
is rather disconcerting, says Samuel Richard Mook in the 
opposite, which presents an ingratiating pictirc <! 'the come 


THOUGH controversies may rage about whether or not Gary 
Cooper is this or that, or whether he can or cannot, or he 
should or shouldn't,, he keeps his eyes calmly fixed on the only 
course possible, that of being true to himself. 

Zdgeae Robert Ricbee 

Photo by Irving Chidnofl 

OF air the stage players who have flocked to the screen, Ruth 
Chatterton has won the favor of the fans in .* variety of 
roles that would have taxed any star of the silent regime. 
next film? "Sarah and Son." 


FEW, if any, players of the silent screen -have been so vivified 
by audibility as Norma Shearer, whose two triumphs, "The 
Trial of Mary Dugan" and "The Last of Mrs. Cheyney," are to 
be followed by another, "Their Own Desire." 

Pboto by Irrlng Chldnoff 



riiuto by Irvine ChldnutT 

EVEN if Ann Harding were unknown, mis pnotograph would 
justify itself on the score of sheer beauty. But she is distin- 
guished on the stage, and by the time this is published we wager 
that her domain will include the screen as well. 


SLEEKLY feline, Lilyan Tashman makes her way sinuously 
through almost every picture one sees nowadays and leaves 
in her trail a pur of appreciation from those who applaud tech- 
nical skill, pungent personality, and pervasive good humor. 

Photo Oy Irvine Chidnon 


Photo by IrvInK Chldnoff 

AS long as the screen endures, Corinne Griffith will lend hcauty 
to it, for when she no longer chooses to do so by the spell 
of her gracious presence she will become a lovely tradition 
let's await "Lilies of the Field." 

f~* ENTLY, as befits so luscious-looking a girl, Leila Hyam:- 
V-* humorously resents being called "just another marceled 
blonde" by a fan, and Ann Sylvester's delightful interview oppo- 
site bring.-, out just what Leila is going to do about it. 


Tour Darts Strike Home 

Whether a fan's letter praises or condemns a star, Leila Hyams, speaking for the players, assures the 
contributors to "What the Fans Think" that every criticism hits its mark. 

By Ann Silvester 

AS you take youi pen in hand to bombard your 
opinions through "What the Fans Think." docs 
the suspicion ever hit you that perhaps your letter 
will never be read by a star? Do you have that empty. 
all-gone feeling that perhaps Richard Barthelmess will 
never know how sore you felt over his voice doubling 
in "Weary River"? Or that Alice White is ignorant 
of the war that is being waged as to whether or not six- 
is dumb? 

Well, you can rest and write in peace, or any other 
favorite mood. Dick knows all about it. So does Alice. 
So does Leila Hyams, who was recently accused by a 
pair of initials of being "just another marceled blonde." 

We were lunching together at the M.-G.-M. restau- 
rant the day she happened to speak of it. 
Joan Crawford and her ardent, new hus- 
band sat at an adjoining table. Scattered 
hither and thither were William Haines, 
Lon Chaney, Bessie Love, John Mack 
Brown, Eddie Nugent, Conrad Nagel, and 
half a dozen gilt-edged directors. It 
needed only a small bomb to send a million 
dollars' worth of talent sky-high. But 
that's silly, isn't it? 

Certainly the thought of bombing had 
not disturbed the luscious serenity of Mrs. 
Hyams' child. And "luscious" is 
the word. There is a' peach- 
bloom finish over a set of very 
regular features as photographic 
as they are harmonious. There 
is a wide space between the eyes 
that suggests mental calmness. 
There is a casualness and just- 
between-you-and-me tone in her 
conversation that discourages any 
attempt at formal discussion. So 
we just sat and commented on 
the people around us. And some 
who weren't there. For the ben- 
efit of those sticklers for detail, 
she was wearing a blue sport? 
dress and eating watermelon. 

She had, she said, just com- 
pleted a hectic and exciting sea 
picture for Columbia, and it 
seemed nice to be back on the 
home lot after a long location- 
trip on a boat. The picture 
might, or might not, be good. Tt 
wouldn't do her a great deal of 
good with the critics, but the 
fans probably would like it. "And that's 
more important," she added. 

"Do you really think so?" T asked. 

"Sure," replied Leila. "Why not'' 
The critics get in on passes, but the 
fans pay money. 

"I'm always glad to get a good re- 
view, because that flatters my vanity. 

"Just another marceled blonde" 
was the comment that hurt 
Leila Hyams. Here Miss 
Hyams is with her husband, 
Phil Berg. 

But I'd much rather be mentioned in the column of fan 
letters, where they say just what they think. Sometimes 
it hurt.-, but at least those letters are bonest. 

"About a month ago I gleefully spotted my name in 
one and read on -only to gel an awful slap in th< 
Following my honorable mention was this line of de- 
scription, 'just another marceled blonde.' 

"At first I was as indignant as a wet hen. 1 thought 
seriously of addressing a personal reply to the initials, 
and telling the fan writer I was not marceled. I may 
be just a blonde, but my hair isn't marceled. Evidently 
it hadn't occurred to the writer that my hair might be 
naturally curly. I can't keep it from curling. To run a 
wet comb through it only makes it the wavier. On this 
sea picture, with that criticism in 
mind, I tried every way under the 
sun to stick or paste my hair down. 
Can you imagine what that young 
man will think when he sees me just 
as curly and 'marceled' as ever, in 
the midst of the ocean? T can almost 
see his next letter saying that I must 
have taken my marcel iron along." 
"Do you think the players really 
take those fan criticisms to heart?" 
I pried on. 

"' )f course they do," Leila 
assured me. "particularly when 
the writers choose to call at- 
tention to some weak point 
that cannot possibly be helped. 
I know one very charming star 
who was awfully upset when 
a fan wrote about her bowed 
Now that is something 
she cannot possibly remedy, 
but it has no effect at all on 
her splendid acting and, inci- 
dentally, she is one of the 
best actresses on the screen. 

"Another player spoke to 
me about a comment that re- 
ferred to his old age, ami ad- 
vised the producers to rele- 
gate him to character parts. 
instead of leading roles. 'If 
these kids could only under- 
stand that the dramatic things 
of life are not entirely con- 
fined to young people, perhaps 
they would understand why I 
might possibly fit my roles/he 
explained his feelings to me. 

"-till another player became 
angry at a dart directed at her ht'u r 
feet, that she asked the studio to em- 
ploy a double for the offending mem- 
bers. Von can see how this lim 
comment can hurt terribly, without 

1 14 


Anna Q. Nilsson is described by Miss Gebhart as a 

game soldier, with the Swedish equivalent of an 

American sergeant's outlook. 

NOW if this were a sob story, I would marshal 
my sad adjectives, hitch them together with 
commas of commiseration, and string them 
into sentimental sentences. 

As it happens to be about Anna O. Nilsson, who 
is just a game soldier with the Swedish equivalent 
of an American sergeant's outlook, the sympathetic 
vocabulary must remain in mothballs. 

Fifteen months ago, much to her surprise, she 
found a horse with a spirit as untamed as her own. 
To this pride's injury, it added the insult of throw- 
ing her into a deep ravine. With fractured hip, she 
rode in the back seat of an automobile three hun- 
dred miles from the high Sierras to a Los Angeles 
hospital. The doctors said that never had they en- 
countered such courage. It was later discovered 
that for months the medicos thought she would be 
permanently crippled, but not even her closest friends 
knew of this fear until it was past. 

Anna Q. always has stood for something very 
fine. Her positive character, her contempt for Hol- 
lywood's laws, her bravery, her candor, her trouping 
in the many vicissitudes of a picture career for 
seventeen years, won an enduring regard. 

I dreaded seeing her ill, gloomy. That rippling 
vitality muted? That husky voice, almost a 
song in a low, contralto key, querulous and 

It so happens that I have come much in .— «_. 
contact with little people's weaknesses. One's 

She Wears trie 

Anna Q. Nilsson has acquired patience 

embittered and perhaps destroyed a less 

beacons of Hollywood, and is also 

B? Myrtle 

All Photos by 

storehouse holds custom-made remedies and 
solaces. But the crumpling of the strong- 
willed is an immense tragedy to me, as 
though a rocky wall suddenly wilted into 

I might have spared myself the worry, and 
parked outside that solicitude which, sub- 
consciously, one carries on visits to invalids. 
Discrediting the reports of her jollity, I was 
unprepared for the tanned Amazon who 
thumped in on canes, calling a hearty wel- 
come. Her vibrance is undimmed. I gasped 
and forthwith made myself comfortable, say- 
ing my sympathy for the weaklings. This 
wall hadn't toppled. 

Her hair, in a shoulder-length bob, was 
marcelled about a healthily browned face, its 
strong contours perhaps a trifle em- 
phasized by thinness, though the gayly 
printed pajamas seemed amply filled. 
After a misfortune which would have 
crushed a less valiant 
spirit, her strength pos- 
sibly is even more no- 
ticeable, because of the 
. demands thus made 
upon it. 3he looks so 
capable, and is so ener- 
getic. My first thought 
of placing pillows for 
her comfort struck me 
as ludicrous. Instead, 
I remarked, "I'm very 
much starved." 

"If you write any bunk 
about me," she said, lazily, 
from the kitchen, "you can 
make your own coffee here- 
after. If you do one of 
those sob stories, I'll never 
speak to you again." 

For fifteen months she 
has been "on the shelf," ex- 
cepting the few weeks 
when, getting up too soon, 
she worked in "Blockade," 
bringing on a relapse. Im- 
mediately after the acci- 
dent, her hip was strapped 
in a sort of brace, and her 
limb atrophied until it was 
the size of a small person's 
wrist. Now, with two 
canes, she walks a good 

Far from being neg- 
lected by Hollywood, 
Anna Q. Nilsson is the 
lure of many an excur- 
sion to her beach home. 

Badge of Courage 

and fortitude from a hardship that would have 
valiant spirit. Her story is one of the shining 
one of the best Miss Gebhart has ever written. 


Russell Ball 

deal to coax the muscles into new development. Days 
are spent "sun-soaking." When her maid becomes 
bored with the compara- 
tively solitary beach life and 
departs, she does her house- 
work, thus keeping actively 
occupied. So intrepid is her 
spirit, she even manages to 
drive her car ! 

Just picture her, hobbling 
about, sweeping and cooking, 
taking her daily constitu- 
tional along the sandy edge 
of the ocean, driving up to 
Hollywood for an occasional 
luncheon, with the stubby 
end of a cane helping a lag- 
gard foot manipulate the 
clutch — and gurgle a sob 
story, if you can. / can't! 

Three years ago she pio- 
neered the Malibu Beach con- 
tingent. Then her bungalow 
stood gauntly alone, the 
large living-room cluttered £ 
with wicker lounges, tables 
strewn with magazines, on 
the walls caricatures mingled 
with seascapes. Now cot- 
tages of brick and stucco 
seem to sniff a bit at that old 
native, the Nilsson haven. 
A dozen stars, in chic beach 
outfits cycle along the sands, 
loll over lazy week-ends, or 
challenge the wind in their 
stanch little water craft. 

We watched the motor 
boats, scarlet streaks scud- 
ding over the waves, and 
likened the sea to a chorus 
of swelling peacocks forming 
a fan dance close to shore; 
between the swells, a sloop, 
which we decided must he 
Charlie Farrell's, hove into 
view, and a fishing smack 
seemed to have sat down, out ^ ,,. . T ., 

there, to talk things over ° { cou "e N.lssons 

with the barracuda. SeVenteen yearS 

Usually, a shelved one 
goes through stages of bitterness and adjustment, rights 
one's lopsided house and gains in solid values. Anna Q. 
waved out into the ocean my suggestion that she, too, 
might have suffered from introspection. 

"Bunk! Only pain bothered me. and inactivity. I 
had worked hard, my philosophy was definitely shaped; 
things did not count, upon which many in Hollywood 
place stress. My work was a good 'and interesting 


business, that was all. Sorry, hm I can't wring a t< 

with a talc of woe. At first I was very irritable and 
impatient, and had I >1 myself with i iblc 

effort. Self-pity, fortui have n< t< d. 

Every experiem m ; the one thai I h 

learned I i 

"Ever) ■ be< n lovely. ' m week d. 

picture people. Ii nevi to me to qui stion 

their absence as. sometimes, I read of a player who 
ill complaining of neglect. Aren't they all busy, rusl 
iii a breathless cycle? So much to do in so little time. 
My few days between pictures were occupied with 
rounds t >\ duties, so I understood. On Sundays the 
house is full. We seat the overflow on the wav< 
What draws Lois Wilson. Leatrice Joy. the Allan 

Dwans, the Gregory la 
Cavas, and other bright 
and busy cinemese down to 
Anna O.'s seaside lodge on 
their one free day? 
sense of duty, pity, a con- 
valescent's whine? Don't 
be silly. They flock there 
to he cheered up! In ex- 
change for the compara- 
tively petty news of people's 
activities and dramas, they 
take away that revitalizing 
power and peace which the 
ocean gives to those who 
abide beside it. After a 
swim they play cards, or 
talk, or sunbake ; and the 
gayest of all is the "in- 

Spurred on by her men- 
tal acrobatics, they trail her 
comments and her throaty- 
laughter; for the mark of 
the leader is still hers. 
After a while they sink 
into one of those calming 
silences. 1 like to think — 
and who can prove me 
wrong? — that spirits a hit 
tired of the light, and bored 
with its moths, gather cour- 
age from the sentient 
strength of her, grown ap- 
preciably in the semidark- 

"Bitter? Why? Things 
happen. Disappointed ? 
Naturally. I lost four 
choice roles. Two. 'Craig's 
Wife" and 'Ned McCobb's 
Daughter,' I had my heart 
set on. I was one of the 
thousand up for 'Lummox.' 
I want SO to do .huia 
Christie. But what a tire- 
some world it would be if 
things went on smoothly. 
Nothing can be more mo- 
notonous than surfeit. Heartaches must be tucked away. 
Fortunately, we Swedes are phlegmatic Besides, there 
are many hurts in Hollywood, masked by glamour and 
pride, worse than my accident. 

"In 1 follywopd" — her gaze passed over me. beyond the 
spray, out to the even carpet of greenish blue — "too much 
is made of things. Drama and friction, tense ambitions, 
Continued on page 110 

accident will not end her 
on the screen. 


Billie Alfresco 

It is an entirely different and more beautiful Dove who 
disports on the beach, far from the madding crowd at 

the studio. 

Billie Dove, outer 
left, as a modern 
Lorelei, can woo 
mariners to de- 
struction with 
her little, old 

And with her 
telescope, right, 
she can sight 
them long before 
they realize their 

Casting aside the 
arts of seduction, 
left, Miss Dove 
goes in for a 
strenuous game 
of volley ball. 

In the lower left- 
hand corner she 
abandons herself 
to the sheer joy 
of living. 

But in a quiet 
moment, lower 
right, she finds 
peace and relaxa- 
tion with her 



Dogging Lila's 

Three times the writer of this story 
has fallen in love with Lila Lee, 
beginning when she was three years 
old and — but let him tell you how 
she does it. 

By Romney Scott 

ABOUT twenty years ago — my, how 
time flies — a bad, little boy pulled 
loose from his nurse's hand and 
toddled over to the stage .door of the old 
Orpheum Theater in Memphis, Tennes- 
see, for a good squint at a young lady 
who was approaching, and who was ap- 
pearing on the bill that week. As Harry 
Richman sings, 

"The girl was she 

And the boy was me!" 

This young lady, in those days called 
"Cuddles," was not the fair-haired in- 
genue usually found in girls of that age. 
She was a distinct vamp, with jet-black 
hair and lashes that curled and curled in- 
definitely. I gave her a reassuring smile, 
but the lashes were discreetly lowered. 

This being a cycle of threes, I may 
state here that she was three and I was 
about seven — more than twice her age. 

As she disappeared through the door, 
she turned and flashed me a dazzling 
smile, and in that instant Cuddles became 
"an old man's darling." 

Even at that tender age I knew how to pick 'em, but 
that's all the good it has ever done me. I never get to 
first base with any of 'em, and this affair between 
Cuddles and me died a-borning. 

We next met about six years later — twice three, you 
see — at the home of a mutual friend. When I saw her, 
I heaved a sigh of relief, and considered myself well 
out of a bad mess. She still had those large, gray eyes 
and the black hair, but she was fat and chunky — if 
you know what I mean — and the hair had grown too 
long to curl, and was worn in thick, ugly braids. 

Cuddles and a younger brother of — er — my girl — 
were having quite an affaire dit caw. Hot dog ! What 
a writer I'm becoming ! As both his sister and I were 
older than he, I was treated with something approxi- 
mating awe. Cuddles left town and her swain was 
broken-hearted. However, there were consoling letters. 
When I was waiting for his sister, he used to come into 
the living room and show me her letters — base scoundrel 
— and ask advice as to the best way to conduct this 

Presently I left town, too — no, you little smart Aleck, 
I didn't have to — and I heard no more of Cuddles for 
another three years. 

Then, in a theater in Houston, Texas, I saw a picture 
called "The Cruise of the Make-believe," starring Lila 
Lee, and who do you suppose it was? That's it! 
Cuddles ! She didn't seem quite so — er — chunky, and I 
promptly proceeded to fall in love with her a second time. 
I atience, children, the cycle will work out eventually. 

Photo by Archer , 

Three times Lila Lee has been in and out of pictures, but now she can t 

leave them any more. 

Who wouldn't have? Didn't I know a real, live actress 
when I saw one? 

This was her first appearance on the screen. She 
made eight starring pictures, and then disappeared from 
public gaze for a time. As Lila puts it. she grew fat 
where she shouldn't have, and long where nobody wanted 
her long, and this, that, and the other. 

Then she appeared for the second time on the screen 
as leading lady. Her worst enemy in those days could 
hardly have accused Lila of setting the styles — even in 
her pictures. 

She had the reputation of being one of the frowsiest 
girls in Hollywood. She used to go flying around the 
old Lasky lot with tennis shoes on all the time, her face 
always in need of powder and her hair streaming around 
her face. She wore coat suits when she should have 
worn sports clothes, and sports clothes when she should 
have worn something else. She was about fifteen or six- 
teen at the time. I think it was those eves that got her by. 

How many of you little brats remember her when 
she played with Wallace Reid, in "The Charm School," 
"The Ghost Breaker," "The Dictator." and "Kent Free"! 

Or with Thomas Meighan, in "Back Home and 

Broke, Hie Prince Chap," "Old Home Week." "The 

Easy Road," "Womanproof," and in "Male and Fe- 
male," in which Gloria Swanson played opposite 
Meighan, supported by Hebe Daniels? 

Or in "L Matrimony a Failure?" whose cast !"■ 
such names as Lois Wilson and Adolphe Menjou? Or 
in "Blood and Sand." opposite Rudolph Valentino, and 

It was a very different Lila who played the slavey 
in "Male and Female" years ago. 

in "The Ebb Tide," in which she played opposite 
James Kirkwood for the first time, and in "One 
Glorious Day," one of the only two good pictures 
Will Rogers ever made? 

How many of you knew she made 
a series of feature-length comedies op- 
posite Roscoe Arbuckle when he was 
in his heyday? Quite an imposing list, 
isn't it? 

Came a day, as they used to say in 
the good, old silent pictures, when Lila 
burst upon our startled gaze, clad in 
white satin and a long veil, 
and said "I do" to the minis- 
ter and "I will" to James 
Kirkwood, and forthwith dis- 
appeared from Hollywood. 

New York knew them then 
for a few years. Husband 
Tim appeared successfully in 
two plays, "The Fool" and 
"Ladies of the Eve- 
ning." Then they ap- 
peared together in a 

Photo by I'ryn 

Poised, sophisticated, 
and beautifully efficient 
is the Lila of to-day. 

L'ogging Lila s rootsteps 

couple of plays, "Ladybird" and "Edgar Allan Poe" — "Which 
we produced ourselves, God help us," said Lila. 

In those days Lila was one of the most pathetic little objects 
I've ever come across. Those enormous eyes which made you 
want to take her right into your arms — an inclination I still 
cherish, fruitlessly, perhaps — and comfort her. She was in 
reality the character that Zasu Pitts and Bessie Love used to 
portray on the screen. I don't know what happened then — 
I've never asked her. But things just didn't work out, and 
Lila and Mr. Kirkwood reached that poetic-sounding spot on 
the road of life where the trail divides. They separated and 
Lila went to Europe. 

Another three years passed and she returned to Hollywood. 
But times had changed, and Hollywood didn't exactly sit up 
on its hind legs when she arrived, and nothing much was heard 
of her for a time. Then she began working again. "Queen 
of the Night Clubs," with Texas Guinan, "Honky Tonk," with 
Sophie Tucker, and then "Drag," with Richard Barthelmess. 
I didn't see the first two, but I did see "Drag." The next 
day I went to an oculist, got some new glasses, and went back 
for another eyeful. And, cheerio! ll'hat an eyeful! 

You see, the old cycle was hitting on all three again. Her 
third entrance into pictures. Her third picture since her return 
and, last but not least, it was the third time a humble writer 
began to sit up nights dreaming about her. 

As you have been told, in the old days Lila was not exactly 
a fashion plate. But shades of Lanvin and Lelong, see her in 
"Drag" and eat dust, buddy, eat dust. The latest bob! And 
the ne phis ultra in clothes ! Didn't I tell you when she was. 
three she was a pronounced vamp? Now, after twenty years, 
she reaches full bloom. 

Next day I hot-footed it around to the Fox lot, where she 
was appearing with George Jessel. in "The Hurdy Giirdy Man." 
We lunched together, Lila, George, and William K. Howard, 
the director, and I. 

"I can tell you all about Miss Lee," George volunteered. 
"Let's see. The last play I appeared in before I came out here 
was 'The War Song,' and before that I played in 'The Jazz 
Singer.' Now, some of the critics preferred my work in one 

and some in the other and " 

"Enough!" said Lila. "Thanks just 
the same, chiseler, but I'll manage my 
own interview," and she turned those 
thousand-candle-power eyes full blast 
on me. 

When I came out of the swoon, Lila 
was holding my head on her lap and 
George was pressing a bottle of smelling 
salts, or maybe it was something else, un- 
der my nose. I inhaled deeply of what- 
ever it was and went into another faint. 
Unfortunately, all good things come to 
an end, and by and by Mr. Howard — or 
maybe I should say Bill, since we've 
lunched together, called time, and we all 
trooped over to the set to start work 

To my surprise, Lila 
has not only changed out- 
wardly, but inwardly as 
well. Instead 
of the resigned, 
Continued on 
page 114 



The average parent can forgive him- 
self for growing chesty over having 
one child in pictures, but what of 
those who have rows of kid actors 
in the family? 

The Quillan clan, above, is known especially in v. 
ville, from papa down the line, but Eddie shines in pic- 
tures. Top row, left to right, Helen, J< e, Mai 
John, Buster, Mr. and Mrs, Quillan; Margaret, Isabelle, 
and Rosebud, in front. 

The Eaton family, above, has responded royally 
to the call to films, and is perhaps the best-known 
family group of the young players. Left to right, 
back, are Charles and Mary; Doris, Mrs. Mary 
Eaton, and Pearl, dance director for RKO. 

The Johnson family, right, is not neglected by 
any means, for here are Kenneth, Camille, Car- 
mencita, Seesel Ann, Dick Winslow, and Cullen I!. 

The ten Watsons, left, are a little 
casting li-t in their nd all 

the >■ pt the smallest 

have been in 61 right, 

Jr., Vivian, Gloria, 1 

Han; I kl Mar, and (">car\. 


Photo by Louise 

Beaming pride is reflected in the faces of John Mack Brown and his wife over their baby's first 
adventure with the camera, while George Fawcett, a sort of godfather to all three, bestows his droll 





t m m 


* m I ■ ■■ * ft ■ 

KA^/ \_y V V-L 

T T 

What's doing in the studio world, with news and 
gossip such as you like to know. 

A YOUNG lady finally makes up her mind ! 
Thus might a caption be written to the an- 
nouncement that Janet Gaynor is married to 
Lydell Peck. An on-and-off engagement, with the hero- 
ine debating whether she would say "I do" to the very 
last minute, ultimately culminated in their marriage. 
The suspense must have been terrible for Peck. He 
won, though, and it is said there was at least one broken 
heart because of the match— namely, Charlie Farrell's. 

Charlie went on a personal-appearance tour through- 
out the country just following the wedding, and it is 
predicted that he and Janet will appear in no more pic- 
tures together. However, this is perhaps only vague 
rumor, because it doesn't seem fair that such a happy 
and successful combination on the screen should be 
broken up, even on account of marriage. And why 
should it be, anyway? 

Nobody in the films had a chance to witness the cere- 
mony that united Janet to Mr. Peck, since it took place 
at the groom's home in Oakland. California. Only im- 
mediate relatives attended, including the star's mother, 
Airs. Laura Gaynor, and her aunt, Mrs. A. B. Avery. 

The couple have been honeymooning in Honolulu. It 
is said that Mr. Peck will likely give up his law practice 
in San Francisco, and start anew in Los Angeles to be 
near his clever, little wife. 

Only time can tell whether marriage is the most ad- 
vantageous thing for the career of so sensitive and wist- 


■ • i 

TS l/y 




ful a type as Miss Gaynor is on the screen, and her own 
doubts about the advisability of the step in connection 
with her work are reputed to have been responsible for 
her last-moment uncertainty. She is, however, very 
devoted to Peck, and he occupies a high position socially 
and is very capable in his work. They met nearly a year 
ago, and therefore had plenty of time to decide how 
fond they were of each other. 

"School Days, School Days." 
How to get an education ! The latest problem of Hol- 
lywood ! Not that stars necessarily need it — but then a 
few of them seem intent on postgraduate study, or 

Corinne Griffith amazes us with the nature of her 
curriculum. She devotes just one day a week to her 
lessons, but makes up for lost time on that day by 
taking an hour or more each of French, piano, sing- 
ing, and tap dancing. She rests at her beach home 
the other days of the week when she is not busy on 
a picture, but that single one is all astir with fiery con- 

Corinne's tap dancing was turned to good account in 
"Lilies of the Field." Attired in silver tights — a revolu- 
tionary garb for her — she did some spirited stepping on 
the piano. "Gone are her languors" may well be said 
of Corinne after this studious activity. But even Corinne 
must keep up with the new pace. 

Hollywood High Ligkts 

Next — Cap and Gown. 

The school idea is really very widespread in movie- 
land. Pathe and First National have special coaches for 
dramatic work, and from time to time Metro-Goldwyn 
institutes some training for its players with the Uni- 
versity of Southern California. 

In the Pathe class, of which Frank Reicher, the di- 
rector, is instructor, are Jeanette Loll, Eddie Quillan, 
Carol Lombard, Russell Gleason, Lew Ayres, Marilyn 
Morgan, and others. In First National's class the pupils 
call Alexander Gray, who sings in "Sally" and "No, No, 
Nanette," their teacher. Alice White, in a mischievous 
mood, brought him a bouquet of flowers one day. 

Private tutors are especially in evidence, and have 
been for a long time, with such prominent stars as Mary 
Pickford, Norma Talmadge, Clara Bow, and others, and 
the rage for vocal study goes as mad a pace as ever. 

Vallee Croons Along. 

Rudy Vallee has yet to decide who will be the "girl 
of his vagabond dreams," to quote one of his song num- 
bers. At this writing he has not yet shown himself to 
be a soul susceptible to the blandishments of I lolly wood's 
fair, or possibly he hasn't started to blandish himself. 

Vallee's public appearances are nevertheless events. 
There have only been a few since he signed with Rk< ). 
but the one he made at the opening of their new theater, 
as well as the Roosevelt Hotel, captured the crowd, lie 
was applauded repeatedly and encored. And he can sing 
in his crooning way! No doubt of it! 

But- — is he temperamental ? Well, we hear rumors 
that he was very angry when they kept him waiting on 
a set for a test. 

La Negri, Sotto Voce. 

A quiet visit by Pola Negri! It is hard to 
imagine. La Negri always had the fashion of 
sweeping onto the Hollywood stage with stunning 
emphasis in the years when she was a 
star with Paramount. Her entrance on 
her recent tour was most subdued. It 
was a business trip, as she has invest- 
ments in Los Angeles that needed looking 
after, and she resided at her own apart- 
ment hotel while there. 

Pola is to talk in her foreign-made 
films, she told us — has, in fact, already. 
for a part of one, but she has no intention 
of returning to America and engaging in 
the battle royal of the audibles here. One 
can admire her discretion in this. 

As always, she looked immensely fas- 

Her marriage to the prince, who is al- 
ready reported to be interested elsewhere, 
will be dissolved in November. 

The Globe-trotting Fever. 
Europitis, familiar ailment of past — 
mostly pretalkie days — has broken out 
again. And a throng has caught the fever this 
time. The vacationers include Evelyn Brent and 
Harry Edwards, on a deferred honeymoon trip: 
Carol Dempster, also recently married : Gloria 
Swanson, Douglas Fairbanks and Mary Pickford. 
on one of their perennial voyages, and Jack Gil- 
bert and Ina Claire, who are about on the way 
home, and Neil and Elsa Hamilton. To the 
group abroad will soon be added Richard Barthel- 
mess and his wife, Jessica; Colleen Moore and 
John McCormick, who may go around the world, 
Corinne Griffith and Walter Morosco. and pos- 


bis wife and little daughter. 

Ii> Hum 

-ibly Harold Lloyd and 
Also < ieorge Bancroft. 

It may In- a surprise to learn that such a largi 
arc holidaying, but the explanation is easy for 

tlu- must part w< fearful of going anywhere when 

the talkies first came in. They dreaded to fall behind 
in tin' race to make good. 

Now a number of them have won SUCO I the 

others who-e prospects are -till a little doubtful have 
determined to quit worrying about it. Hence the heavy 

"We need a perspective on this whole thing," is the 
slogan now heard everywhere, and if a belated joining 
of the Byrd expedition at the south pole seemed no 
sary to acquire that perspective, it would be done. 

The Babel of Tongues. 

The Tower of Babel is about to be duplicated. In 
other words, the movies are to become overnight a place 
of many different tongues. For some smart studio boy 
has recently discovered a way to double conversation in 
pictures in foreign languages. 

"Broadway," the Universal film, has been provided 
with German and Spanish dialogue, and "Show Boat" 
with German. These will be shown in Europe. 

Also, spoken portions of "The Bridge of San Luis 
Rey" were recently duplicated in German, but these 
comprised only a sermon and a few other insignificant 

The hero of the hour in this new field is Joseph Schild- 
kraut, who doubled for himself in "Show Boat." He 
speaks German most fluently, and also French. He 
knows Spanish, too. 

Such linguistic attainments will enhance a star's 
success in the future, though the voices of the 
players can In- doubled easily enough by foreign 
actors, of which there is still an abundance in 
the colony, who can at least qualify as speakers, 
if not as lookers. 

A Talented Family. 

Two Bennett sisters, instead of 
one, are destined to make good I 
Joan is already pleasing with her 
refined type of beauty, as is dis- 
closed in "Bulldog Drummond" 
and "Three Live Ghosts," but 
even more, Constance, who was 
on the screen a few years ago 
without causing more than a rip- 
ile of interest, is manifesting 
new acting gifts. 

She has made two films un- 
der her contract with Pathe. and 
is now just finishing opposite 
Richard Barthelmess, in "A Son 
of the Gods." 

Constance personally is the 
peak of sophistication- not beau- 
tiful, perhaps, but very inter- 
esting as a type, and distinguished by her 

worldly assurance. These attributes were not 
always fruitful of acclaim for tin- silent-film 
actress, but they seem to glorify the talkies. 

In Celestial Mood. 

A Son of the < rods" is 

Barthelmess in Chinese 
surroundings as a re- 
minder "Broken 
Blossoms." rthel- 
meSS does not api>car as 

i l^ 1 1 1 on "' 


Dennis King brings his 
stage success, "The Vaga- 
bond King," to the musi- 
cal screen. 


Hollywood Higk Lights 

a Chinese, though. He is a white youth adopted by a 
Celestial couple, and reared according to their customs 
and traditions. The old element of mistaken identity 
enters the plot, because everybody is supposed to think 
he is Chinese. 

Vance Versus Vance. 

William Powell and Basil Kathbone are rivals. They 
arc both impersonators of Philo Vance, the effete de- 
tective of the S. S. Van Dine mystery novels. 

A curious situation has occurred over these unusual 
thrillers, due to the fact that two different companies 
are making them. 

Paramount procured "The Canary Murder Case" and 
"The Greene Murder Case." and Metro-Goldwyn "The 
Bishop Murder Case." Paramount held their detective in 
too high esteem to lend him elsewhere, so M.-G.-M. 
depended on their own personnel, and Rathbone was 
selected for the Vance of their film. He isn't nearly as 
well known to fans as Powell, but he is an excellent 

Rathbone is one of the highest paid of the stage players 
now in pictures. His salary is reputed to be $2,500 
weekly. It is very much of a question whether he will 
stay in Hollywood permanently, because there is a gen- 
uine demand for his services before the footlights at a 
high salary. Movie companies don't seem desirous of 
paying stage players highly for their work, until they 
have won a screen following. 

Disclaims Paternity. 

"No, I'm not a father." So wired Raymond Hatton 
from the desert not long ago. It seems that he was the 
victim of a mix-up in names, and had received congratu- 
latory messages from picturegoers. They had con- 
fused him with young Raymond Hackett, whose 
wife presented him with a son a few months ago. 
Hatton declared he would like to enjoy the distinc- 
tion of becoming a father, but wasn't so fortunate. 

Very high praise is being given Hatton right now 
for his acting in "The Mighty." Some are of the 
opinion that it even outshines Bancroft's. Hatton 
has been in talkies since the early Warner short 
reels, but without much opportunity until now. 

Barrymore Speaks Out. 

The frankness with which the Barrymores an- 
nounced the anticipated arrival of the stork in their 
home is astonishing. There were no disgruntled 
reporters returning from the interview, and on sev- 
eral previous occasions, especially when inquiries 
were made of John about his divorce, there were 
plenty, both grumbling and mad. In admitting the 
news of the expected new arrival, 
he spoke right out, and even meticu- 
lously said. "We are very happy and 
excited in our anxiety over the com- 
ing event." 

Dolores Costello may be absent 
from the screen for the better part 
of a year. It is pretty certain that 
she will resume her career at the 
end of that time. 

Barrymore has a daughter by his 
previous marriage to Blanche Oel- 
riebs. Friends say that he is hoping 
the new heir will be a son. 

Chanting Bebe's Praises. 
Is it only a dream, or will Bebe 
Daniels star in "Carmen"? From 
all indications she has the gift of 

voice that may enable her to interpret the famous role 
for the talkies and singies. The demands naturally are 
not so extreme as on the operatic stage. The projected 
production is being much discussed. 

Bebe has emerged triumphant from her first en- 
counter with the microphone. Previews of "Rio Rita" 
show her to possess unusual talent for the musical film. 
She is virtually assured of obtaining a new lease on 

This girl's cleverness, and the industry she now mani- 
fests, are astonishing for, just a few years ago, she was 
regarded as a butterfly. 

Church Weddings Popular. 

All Hollywood was there ! All Hollywood, at all 
events, was on the guest list of the wedding of Mary 
Eaton and Millard Webb, the director, and a .majority 
of the invited ones were present. The ceremony was 
performed at the All Souls Congregational Church, with 
Marilyn Miller as maid of honor, and seven members 
of the Eaton family, including the father and mother of 
the bride, present in various capacities. Three of the 
sisters were bridesmaids to Mary, and two of the 
brothers acted as best men. Only one brother, who hap- 
pened to be in the East, missed the event. The Eatons 
are very clannish. 

Even greater popular interest surrounded Patsy Ruth 
Miller's wedding. There is scarcely any star on the 
Coast who is so well known and liked as Patsy. She 
too was married in a church — at St. John's Episcopal. 
The lucky man was Tay Garnett. Her bridesmaids 
were Lila Lee and Lois Wilson, and the maid of honor 
was Helen Ferguson, and Lois caught the bride's bou- 
quet. It was one of the loveliest of filmland weddings. 

Pola Negri, in "The 
Street of Lost Souls," 
her British picture, 
which will be seen in 
this country. 

Photo l>y Sashn 

First Aid for Voices. 

"Bring me my gargle, please." 

We prophesy that the next 
request to be heard on a picture 
set will be that. And at Law- 
rence Tibbetts' door may be laid 
the responsibility for introduc- 
ing it. 

The preparations of Tibbett. 
when he was about to do a 
scene in his first production for 
Metro-Goldwyn, "The Rogue's 
Song," were the most elaborate 
we have ever witnessed. He 
gargled seven or eight times, 
and then took a big drink of 

But after that, he sang. And 
how ! 

Highroad for Lowe. 

Cheers for Edmund Lowe, 
also more material compensa- 
tion. Fox's very leading actor 
nearly escaped the fold some 
time ago, but the company de- 
cided they would keep him, and 
at a considerably higher salary 
than he received previously. It 
is reported that his present con- 
tract starts at $4,000. 

During the interim, when he 
was undecided whether he would 
stay with Fox or not, Pathe is 
said to have been among those 
negotiating for his services. 
Lowe has been with Fox for 

Hollywood High Lights 


the better part of five or six years, and lias never 
peared with any other organization, unless just lent out. 
Mis success in "The Cock-eyed World" has contrib- 
uted considerably to bis advancement. 

Black Crow Saves Peacock. 

Charlie Mack, of Two Black Crows, has settled his 
peacock' troubles. Me bas secured mates for the lone 
bird that he purchased as a pet some time . 

The story bas been widely told of bow Mack, one 
bright and early morning, .started a pursuit of his pet 
that led all over Beverly Mills. Mack was clad only 
in a nightshirt and dressing gown at the time, and at- 
tracted no end of attention from milkmen and other 
early-morning adventurers. 

A peacock, it seems, is a bird that needs the sympathy 
and understanding of its own kind, and if it lie a male 
peacock the companionship is preferably furnished by 
the female birds. 

When he bought his peacock, Mack didn't know this. 
He was brought to a stern realization of it when the 
bird that he had took flight, and he had to chase it all 
over kingdom come. 

He wasn't even successful in catching the peacock, 
though advised chaffingly by a passing milkman to put 
salt on the bird's tail. Somebody else finally brought 
it back to his house. This neighborly individual also 
asked Charlie, with astonishment at his ignorance, 
"Don't you know that you can't keep a peacock happy 

"No, I didn't," Mack replied, "but if it's a mate he 
wants he shall have it." 

Hence there was an early addition to the Mack barn- 

plays a 

The Reawakening of Love. 

' >ui oi sight, "in of mind — and vio 
thing like this is descriptive of the romai Nils 

Esther and Vivian Duncan, who ibly 

married. Nobody i 

each other sei iously. 1 1 iif- 

ferenl types Nils elusi 
cinating, and Vivian light-hearted and 
least provocation. 

Two years ago they were report 
the match was declared off. Everyba ht they 

bad just been kidding. 

When the Duncan sisters came to the Metro-Goldwyn 
studio to make "Cotton and Silk." it wasn't long until 
\ ivian and Nils were being seen everywhere together, 
and only a little while afterward they announced that 
they would be married, eacb protesting that be or she 
bad always loved only tbe other one during the time of 
their suppose, | estrangement. 

So another famous screen lover has capitulated, caus- 
ing a rapidly increasing shortage of eligible bachelors. 

A Multiplicity of Faces. 

Paul Muni must be out to disturb Lon Cbancy's pre- 
eminence. Mis newest release is called "Seven Fai 

Investigation reveals that tbe seven faces aren't mcta- 
phorical ones, either. Muni actually plays that number 
of characters in tin- production, when he impersonates 
figures in a wax works coming to life. 

Tin's actor is by way of being one of tbe big "finds" 
of the year. Mis work in "Tbe Valiant" pleased 1 
audiences. Me is wry different from other screen per- 
sonalities — a slender, aesthetic and very reserved type, 
with very marked gifts as an actor. 

The Roaring Bull. 

If there are sounds of static, ground noises, 
and other disturbing sounds in the talking pic- 
tures that you hear, perhaps the explanation 
for them has at last been discovered. For Bull 
Montana has recently made tbe proud boast 
that "I make all the terrible noises that are 
heard in the talkies. You bear big noise 
that's me !" 

What Bull actually meant is that he 
can produce very stentorian sound ef- 
fects, like the roaring of lions and ele- 
phants, and perhaps even a dynamite 

Thus far we have not identified any 
of the sounds that Bull is capable of 
producing, but we have no doubt that 
his special talents will find plenty of 
expression in the future. 
_ The Bull has also finally mar- 
ried, and his intended, upon the 
.announcement of their forthcom- 
ing marriage, made it known that 
he was a great lover. "You 
wouldn't think he would be ca- 
pable of a great love worthy of 
the best traditions of the screen 
— but he is," she said, with 
considerable pride, "and some 
day he'll take a leading part 
in a film love epic." 

Whether he is going to 
prove a film Romeo or not. 
everybody in Hollywood 
knows that Montana 
is a swell chap. And 
that's enough. 




ball hero for 

a change in 

'The Forward 




There's Point To This. 

To be bit with a pie is such an age-old experi- 
ence in the life of a comedian that it wouldn't 
evoke the least ripple of excitement, but to be 
attacked with a pick; and a sharp one -well, that's 
a new form of slapstick. And Oliver Hardy, 
stout funmaker, knows it. 

Me and Stan Laurel were going through some 
antics as members of a chain gang in a comedy, 
and Laurel was supposed to nick him 
with the sharp-pointed implement used 
for digging holes. A real pick was 
used for the scene, because a rubber 
one looked faky. The nicking was 
scheduled to be very light and affec- 
tionate, as behooves two brotherly co- 
medians. Unfortunately, Hardy, fac- 
ing in the opposite direction from 
Laurel, moved at the moment that the 
pick was swung, and it pene- 
trated the aft part of bis 

It is recorded that the yell 
which he emitted put the 
sound apparatus of the studio 
out of commission for an hour 
or two. and hereafter he will 
insist on the use of rub- 
ber picks only. 

Still Merrily Prodigal. 

A new start is to Ik- 

made on the Paul 

Whit eman picture 

at Universal. The 

lution apjK\v 


The average press photo of President Hoover is anything but flat- 
tering or ingratiating. 

WHAT comes out of the camera when President 
Hoover's face goes in ordinarily would not make 
any mother, he she ever so great an optimist, rise 
and exclaim, "Isn't he grand!" 

Rather, she probably would be inclined to say, "Well, 
Herbert's a good boy, anyway, even if he isn't 
so awfully handsome. Look at his dimple when 
he smiles ! Isn't it fetching?" 

But when a photographer who makes pictures 
of the movie stars takes Mr. Hoover in hand, and 
uses the magic which seems con- 
cealed in camera angles, the Presi- 
dent of the United States loses not 
a whit of his dignity — and gains in 

If times ever get hard for him 
and money scarce, there will be 
jobs for Mr. Hoover in the stu- 
dios whenever a judge, lawyer, 
banker, or diplomat is needed for 
picture roles. He might pass, too, 
as a secret-service agent, a captain 
of detectives, or the boss of the 
Thirteenth Ward. 

During the heat of the presi- 
dential campaign, when Mr. Hoov- 
er's loyal supporters were anxious 
to present their candidate pictori- 
allv to the electorate, Ruth Harriet 
Louise, photographer to the stars 

Tkrougk Dif 

When President Hoover looks into the 

result is entirely unlike familiar pictures 

on the change wrought in 

B$ A. L. 

at the Metro-Goldwyn studio, was asked to go 
to Palo Alto, California, Mr. Hoover's home, 
to make a series of s*tudies. 

Pictures were wanted of him as he really is 
— pictures which would show the passive, virile 
strength he possesses, the grave yet pleasant 
personality he holds in repose; the keen and 
searching eye which seems fo weigh in the 
balance any one with whom he is conversing. 

It is not generally known that President 
Hoover is hard to photograph. His face is 
somewhat wide, his cheeks full, his head large. 
He can, and often does, assume an expression 
which is adamant. A newspaper columnist 
wrote not long ago, "If I ever sat in a poker 
game with Cal Coolidge and Herb Hoover, I'd 
salt away taxi fare before the battle started." 
Too often Mr. Hoover has been snapped by 
news photographers looking absolutely expres- 
sionless, when in reality his features evince a 
kindly interest in everything, and in conversa- 
tion he becomes, at times, almost animated. 

The task given Ruth Harriet Louise was to 
catch his moods or thoughts on photographic 
plates, just as she catches the best expressions 
of Greta Garbo, Norma Shearer, Anita Page, 
John Gilbert, Ramon Novarro, and other play- 
ers. So Miss Louise took her assistant, An- 
drew Korff, and her electrician, Tommy Shu- 
grue, and journeyed to the Palo Alto home. 

"We telephoned from the station 
upon our arrival," Miss Louise said, 
in recounting her experience. "Mr. 
Akerson, Mr. Hoover's secretary, ar- 
ranged an appointment for one o'clock. 
We drove out to the big, 
rambling house situated 
upon a knoll surrounded 
by magnificent trees. A 
few cars were standing 
in the driveway when we 
arrived. In front of the 
veranda was a battered, 
stripped flivver, evidently the 
possession of some college chum 
of young Alvin Hoover. The 
grounds, the trees, the neighbor- 
liness of the callers, the quietude 
about the place, set at rest im- 
mediately the nervousness we had 
felt as we contemplated our ven- 
ture. By the side of the home 
was an old-fashioned garden, 
with hollyhocks and morning 
glories and a wealth of Califor- 
nia flowers blooming in natural 

Ruth Harriet Louise, photogra- 
pher of the stars, who plied het 
magic art upon the president. 

ferent Lenses 


camera which photographs the stars the 
of him, and it suggests a bit of reflection 
the players themselves. 


"Inside the home the hand of Mrs. Hoover 
was seen in everything. The Hoovers are 
Quakers, you know, and do not go in for any 
ostentation. The rooms were simply hut ex- 
quisitely furnished, giving an air of rest, of 
security, of seclusion and comfort. Mr. Aker- 
son showed us through the downstairs rooms, 
and I chose the dining room for the sittings. 
It was one of those lovely, high-ceilinged 
rooms, with oak-paneled walls and large win- 
dows at one side. 

''Now what shall I get you?' Mr. Akerson 

" 'Nothing,' I replied. 'I think we have 

"Tommy, my electrician and lighting expert , 
was going over the switches, plugs, and connec- 
tions, preparing, if necessary, to run extra 
cahles from the power wires. We had brought 
along two broads and one spotlight. But 
Tommy found the electric wiring ample and 
there was little to do, save connect and tesl 
our lights. 

"Mr. Hoover is writing his speech of ac- 
ceptance to-day,' Mr. Akerson explained, 'the 
speech he is to deliver to-morrow. He will 
come, however, the minute you 
are ready.' 

" 'We are ready now.' I re- 

"In a moment the door 
opened and Mr. Hoover came 
in, walking swiftly toward us 
to shake hands. 

" 'Well, I'm at your mercy.' 
he said, smiling genially. "Do 
whatever you want with me.' 

"I noted instantly that he 
was a trifle tense, probably 
from his writing. He sat in 
the chair I had placed against 
the wall and smiled a bit 

" 'I wonder,' I said gently, 
'if you will relax a bit. You 
have been writing a long time, 
haven't you? Here, take this 
book and read a little, while 
we adjust the lights.' 

"I puttered around with this and that, but noted pres- 
ently that he was interested only in our preparations. 
His eyes were focused upon the lights, as if he were 
trying to figure out their mechanism. I snapped the 
shutter in the camera without his knowing it. 

' 'We'll be ready pretty soon,' I assured him. 'Let me 
get a plate into this camera.' 

"I switched in the second plate, took a peep to sec if 
he still was in proper focus, then walked away, chatting 
about inconsequential things. Presently he looked down 
at his book and really began to read, and as quickly as 

Pholo l»v I.ouisv 

This natural, home portrait of 

Mrs. Hoover also brought out 

her distinctive personality. 

U.i'li 11 

When President Hoover is carefully posed and 
lighted, the man himself emerges from the plate. 

I could I pressed the bulb. Another exposure 
without his knowledge! 

"I stepped to his side as if to smooth a 
wrinkle in the lapel of his coat. Then, of a 
sudden, he relaxed and smiled. There, looking 
through the door, was Mrs. Hoover. I caught 
that smile, genial, whole-hearted, perfectly nat- 
ural, as quickly a^ I could reach my camera. 
I believe it is the only smiling portrait of Mr. 
Hoover in existence. Then I had him stand 
while T took his picture in many poses. When 
T finished, he said. 'Thank you very much ! Xow 
I'm going OUt. I will get Mrs. Hoover for you.' 
"lie seemed very relieved. Presently he re- 
turned, leading Mrs. Hoover by the hand and 
introduced US. 

"'I was SO happy to see how comfortable he 
seemed,' Mrs. Hoover said, recalling the glance 
she had through the door. 'He didn't act as 
though he was being photographed at all.' 

*"I believe, if anything, .Mrs. Hoover was more nerv- 
ous than her husband. She is a beautiful, charming 
woman, whose most outstanding physical feature is a 
wealth of exquisitely silvered hair. She said that above 
all else she wanted her pictures to be natural. She sal 
in the chair Mr. Hoover had used, but rose quickly and 
asked. 'Ho you mind if I select another chair? This 
one isn't SO comfortable.' 

"She soon relaxed, and presently 1 had her standing 
ntinaed on page 108 


Tke Stroll 


Our ironic observer of Hollywood happenings indulges in amusing confidences. 

By Neville Rea? 

Illustrations by Lui Trugo 

A COLUMNIST who's supposed to write about 
motion pictures in this day -of detonating cellu- 
loid — if he has any recollection of the past at all 
— realizes more and more that he has become merely 
a foreign correspondent for New York musical shows. 

If he is to write at all, he finds himself confronted 
by playwrights, librettists, dialogists, composers, singers, 
and hoofers — and occasionally an actor. 

Madge Bellamy recently said, "Talkies ! You stand 
around most of the time. The only actor I ever saw who 
could just stand and look imposing, was an old English 
Shakespearean Thespian. He could stand and look im- 
portant better than he could act." 

The lingo of the Great White Way has descended 
upon us. Sputtering spotlights have been eliminated, so 
we can't suffer from tales of the tourists' horror at hear- 
ing "Kill that baby." Broads have become floods and 
we are freed from another Marx Brothers' pun. This 
is possibly the most salutary effect of trust-controlled 

Music is considered important. It has a special fea- 
ture in that it deadens the scraping noise which raw 
dialogue has as its natural affinity. Several pictures 
recently have had such lovely music that I couldn't hear 
the voices. So I didn't know what the stories were 

Now "The Idle Rich"— called "White Collars" in 
some spots — has an obbligato of voices, dish washing, 
auto motors, the crash of plates from Venice Pier, the 
traffic of Washington Boulevard, the grinding of cam- 
eras, and the wailing of infants. I am convinced that 
such sound could not have been produced entirely syn- 
thetically. However, the director doubtless was har- 
assed by that scraping sound and set his crew to work 
making noises that would drown out the static. 

Like a recurrent theme song, I am back to 
Mack Sennett got stuck for a neat sum, be- 
cause one of his players whistled a tune in a 
picture. The tune was fifteen years old, but 
the owner of the copyright heard it and de- 
manded payment. He bought a new car 
with the money. Spies hover about sound 
stages listening for these taboo tunes, and 
control themselves only with difficulty when 
they catch a company flagrante delicto. 

In fact, it is no longer safe for a producer 
to use any music until he searches the archives 
for copyright. Strauss, the Viennese com- 
poser, recently heard "Ramona," and asserts 
it is exactly the tune of a waltz he wrote 
thirty years ago. I don't know what he's 
going to do about it. I'm willing to let a 

dead tune lie. The world only needs a courageous soul 
to apply for an injunction against "The Pagan Love 
Song" — nice tune and all that — but I know a man who 
died from eating too much candy. 

Parenthetical note for those interested — Ramon No- 
varro sang the song in the film, but the voice was put 
in after the scenes were filmed. That's why it seems to 
be the voice of a double. Novarro doubled for himself. 

All over the world people are rushing to recopyright 
old music, so they, too, can buy new cars. The In- 
ternational Society for the Protection of Foreign Tunes 
has been organized. One Hollywood ham has obtained 
a copyright on all Christmas carols. He's broke right 
now, but he won't be for long. He sits in his room like 
a miser and paws the music, making unintelligible 
sounds faintly reminiscent of a Mexican gourd in the 
harvest season. 

Lady Godiva, the famous portrait-egg layer of Hol- 
lywood, is dead, a victim to her art. 

Lady Godiva, a White Leghorn princess, broke into 
fame two years ago. After an attendant had tacked up 
a portrait of Clara Bow in her private coop, Lady Godiva 
astounded the world by laying an egg, the shell of which 
bore perfect features of Miss Bow. 

Subsequent displays of portraits of such stars as 
Laura La Plante, John Boles, Greta Garbo, Douglas 
Fairbanks, and others, brought forth eggs bearing their 

One night a misguided enthusiast hung up a picture 
of Archie Mayo. To-day Lady Godiva is dead — unable 
to produce an egg large enough to serve as a canvas for 
the celebrated director. 

Tom Reed, newly promoted story editor of Universal, 
music. has just returned from the high Sierras, where he 

Rabbits collided with him, thinking he 
patch of snow. 

Tke Stroll 



made exhaustive experiments in the art of protective 

Reed, pestered by story applicants, turned iii despera- 
tion to natural methods of obliteration. In the snow of 
the high Sierras he was so successful in practice that 
rabbits frequently collided with him, thinking he was 
merely a patch of snow. Tn the sun and dust of San 
Fernando Valley, Reed wanders about looking like a 
patch of sun and dust. 

He has been taking lessons from a Yogi fakir. Now 
he can throw a rope into the air, climb up it and disap- 
pear, to become visible later in a locked projection room. 

"That's a good story." said a playwright. 

"Yes," said the scenarist, "but it should have a theme 

"Correct," said the producer. "Let's get John Brown 
to write it. He's good at that sort of stuff, (let him." 

Three weeks later the musical director reported that 
the man couldn't be found. 

The producer insisted that he wanted to sign up the 

Finally an office boy, who delivers the mail on the 
lot, overheard the discussion and timidly interrupted. 
"You looking for John Brown, sir? Maybe I can 
help you." 


"He's in office No. 17. He's been under contract to 
us for six months, sir." 

Those who write about society in this town have 
spoken of opening nights. So I will, too. Without 
using lots of periods to take up space and prove I'm 
of the impressionistic school. I'm not of any school. 

The etiquette of first nights is weird. It involves 
many delicate social problems, when between acts one 
is uncertain as to conduct. 

One must never be seen standing alone. Little groups 
must instantly form like ants around a lump of sugar. 
Everybody in a given group talks and nobody listens. 
All are eying other groups more distinguished in per- 
sonnel, appraising their chances of butting in. One 
must be seen with the best possible group. Don't ask 
me why. 

By an actor's conduct you can gauge his financial and 
contractual standing — whether he is out of a job, secure 
in a contract, or hoping that his option will be renewed. 

1 — Out of a job — talk loudly, buzz from group to 
group, wave to everybody you ever heard of and shake 
hands with all directors, supervisors, and producers who 
will condescend to recognize you. 2 — Secure in contract 
— be very upstage, talk only to 
others who are under contract, be 
democratic and cheerful toward all 
producers, you may be let out some 
day. 3 — Contract up for renewal 
— contrive to be near your produ- 
cer's group, but yet with a "dis- 
tinguished" group, if you can man- 
age to have another producer in 
your group your contract is safe, 
look very bored with it all. 


She was unable to produce an egg large enough to accom- 
modate a likeness of the huge director. 

Ibe trouble is that Will won't stick to his written 
dialogue. He insists upon ad libbing with impairment 
to the thread of the story. So after every scene the 
huddle is called, the new attack is laid out, the buck is 
passed, and Will tackles the wrong words again. 

The person who wrote Lee Tracy's snappy, vaude- 
ville monologue scene for "Big Time" comes under the 
heading of the city's greatest optimist. The theater was 
filled with extras for the audience, as Tracy was about 
to go through his paces in the act that gets him into the 
big time. 

"Now the audience has to laugh at the right spots," 
said the director. "Let's rehearse." 

"Rehearse!" scoffed the author. "Let's shoot it the 
first time and get their natural laughs. That'll be much 
better. Let 'em hear the patter cold, and it'll bowl 'em 

So they did. Grim, deadly silence greeted all the 
quips. It wasn't a put-up job. The extras were sur- 
prised, too. 

'flic director then put up a big electric light and 
turned it on every time the audience was supposed to 
laugh. He turned it off as a signal for the hilarity to 
subside. When you bear this act on the screen you'll 
be expected to laugh. 

After the fiasco, the director looked for the author 
to make a few comments, but the sketch artist had 
thrown a mental fog about himself and had drifted out 
the ventilator. 

A supervisor, notorious for his weakness when ap- 
proached by salesmen, bought six graves last week. 

Since be has only two relatives alive. Hollywood spec- 
ulation seems to indicate that this 
is an informal way of announc- 
ing his intention to marry. 

hover about sound stages listening 
for copyrighted tunes. 

is no longer 

The huddle system 
confined to football. 

The director calls, "Signals." 
The gag man, scenario writer, dia- 
logue writer, assistant director and 
script girl rush together, whisper 
hurriedly, and then shift back to 
the camera line where Will Rogers 
is working. 

A couple of little things that 
drifted in off the road this week 
from small towns. 

In one town the theater owner 
wanted his house equipped for 
talkie-. So a producer put in the 
apparatus and gets half the l 
forever for having done it. the 
owner of the building sets thirty 
per cent for rental, and from the 
other twenty |>er cent comes the 
film rental — for the producer — 
with the remainder as profit and 
salary for the manaj 

Also the town where the I 

her. the general - . ner. the 

Continued on papo 110 


Even Buddy Rogers, 
right) tries his luck in 
"River of Romance," 
sideburns and all, and 
after one hurried 
glance, the fans unani- 
mously turned their 
thumbs down. 

Avtfful Mustackes 

Many fans have a weird mustache complex and will un- 
doubtedly find reason on this page for fiery letters de- 
nouncing the masculine decorations. 

Eddie Nugent, above, as 
Dave, in "The Girl in the 
Show," may possibly escape 
the wrath of his friends and 
even 'get honorable mention 
in "What the Fans Think." 

The new mustache of Rich- 
ard Dix, center, has already 
been condemned by fan writ- 
ers who just couldn't see 
the sense of it at all. 

A soldier in foreign uniform sim- 
ply must have a mustache, so Rich- 
ard Arlen, below, rose to the oc- 

Grant Withers, 
left, in "Hearts 
in Exile," ac- 
quired o n e of 
those bristly, 
he-man mus- 
taches, and no 
doubt h i s girl 
fans fail to ap- 
prove — just 
why, even The 
Oracle possibly 
could not ex- 

When The}> 
LoVe Out Loud 

June Collyer has her own ideas of the 
voltage power of spoken love scenes versus 
silent ones and lets us in on some secrets. 

By Laura Ellsworth Fitch 

THERE was a time when sheiks of the 
screen could recite their laundry list, 
college yell, or telephone number in a 
love scene, and the sheba could reply with a 
dreamy memorandum of her grocery list — and 
it registered as torrid as a Dorothy Parker 
poem. But that was hefore Warner Brothers. 
Now they're making love with real words and 
music, and if you think the technique isn't just 
too different for anything, it's because you 
haven't talked it over with June Collyer. 

June's the girl who know r s. In the first place 
her recent pictures have seen and heard her 
opposite Buddy Rogers, Richard Dix, Conrad 
Nagel, Walter McGrail. George O'Brien, and 
other thrillers. 

. On top of that, she's rumored around Hol- 
lywood as the leading lady they really get a 
"crush" on. And why not? June is as pretty 
and charming and debutantish off the screen 
as she is in the shadow. Thanks to her fa- 
vorite brand of cigarettes and her sense of 
humor she misses the ingenue class, but is well 
up in the category of our very nicest girls. 

Buddy Rogers has made no secret of liking June an 
awful lot. Nor was Richard Dix immune to the play 
of her dimples during "The Love Doctor." Another 
gentleman used to write poems to her between scenes. 
Still another sent flowers to her dressing room daily. 

Is it any wonder I became curious and asked June 
co take me to lunch, so that I could ask her whether or 
not the natural style is cramped by having to speak the 
other fellow's love lines, and if there's as much in- 
spiration in loving out loud as there was in the silent 
days ? 

She wore a cream-lace dress, with a large picture-hat. 
and looked fussed when I brought up the subject. 

"Oh, it's different, all right," she admitted and "acted 
nonchalant," as advised by the cigarette ads, "but I don't 
know whether it is more inspiring. 

"You see. love scenes in dialogue arc really very 
ticklish to handle. You have to be so careful not to 
make them silly. If they become too glowing, the audi- 
ence laughs and the romantic effect is ruined. There 
is only one phrase in love-making that an audience can 
tolerate without feeling self-conscious. That is 'I love 
you.' When the hero launches into some glowing ac- 
count of how madly he wants the heroine, or extols the 
beauty of her eyes, for some unaccountable reason it 
sounds terribly silly. 

"Because of this. I think talking pictures will be the 
swan song of the very passionate love scene. When it 
was silent we could use our imagination about what was 
being said. But when they try to fit words to match the 
action it becomes faintly ridiculous. 

"Maybe you have already noticed a tendency toward 
lighter love scenes in the talkies. I think they are trying 

Photo by Hesser 

When June Collyer is engaged as leading lady to a masculine star, 
he is almost sure to fall in love with her. 

to suggest rather than demonstrate. The fewer love 
phrases that are used the more convincing the scene. 
especially if there is a beautiful song running through." 
June laughed. "Heaven knows what would have hap- 
pened to the love scene if the tin me song hadn't stum- 
bled along. It has helped us out oi more than one tight 
spot. People will believe and feel music, where words 
leave them cold." 

But it wasn't the reaction of the audience that par- 
ticularly interested me. What ahout the players them- 
selves? Wasn't it vastly inspiring to have the lover 
actually sounding his emotions in his deepest and most 
Vitaphonic appeal ? 

June crinkled her nose in a characteristic ruood. If a 
pretty girl could make a face that was it. 

"Do you think it would he particularly interesting to 
hear your hoy friend recite some other man's thoughts 
while making love to you? You would feel that you 
were acting in a play, wouldn't you? That's almost the 
feeling we have. Certainly nothing very personal 
ters in. 

"The picture I have just finished with Budd} R 
is a perfect example of what I mean." she said. I hope 
you haven't forgotten what 1 said ahout Buddy and 
June really liking one another. Tt rather hears on 
what she said. 

"The name of the picture is •Illusion" and we have a 
beautiful love scene. The setting is A marble 

bench — a quiel lake — a sloping lawn — moonligl 
ning clothes music in the background. And the dia- 
logue some one so kindly wrote for us was sweet. ( 
tainlv everything was conducive to romantic feeling. 
vou'l'l admit. But was it? -inn..!.- pagi 115] 


Winsome Nancy Drexel did well in "The 
Four Devils," but where is she now? 

EVERY movie has its theme song 
these days, but for Hollywood as 
a whole, insidiously twined and 
intertwined through every movement, 
played and replayed as a reprise, is a 
chorus beginning with "Give me a 

I strongly suspect that ninety-nine 
per cent of the prayers offered in the 
churches during silent devotion begin and end 
with "Give me a break." 

For every extra, every bit player, and every 
leading man and woman will tell you on the 
slightest provocation, or no provocation at 
all, that all he or she needs is a break, "And, 
boy, howdy! Watch my smoke !" 

The novitiate into the affairs of Hollywood 
is led to believe that once you get a break 
your troubles are over. But, alas and alack! 
A break does not always make a star, or 
are stars always made by breaks. Consider 
just a few who have attained the much- 
sought break. 

Duane Thompson, for instance. 

Duane has looks, she has far more than ordinary ability, and she 
has what, in Hollywood, is even rarer than both these, and that is 
intelligence. She was doing nicely as leading lady for Walter Hiers 
in the last series of two-reel comedies he made for Christie. About 
the time her contract expired, Charles Ray was being refinanced in 
an effort to stage the well-known comeback. He wanted Duane for 
his leading lady and she, feeling that she was getting a very big 
break, left Christie and took the role. On the strength of her work 
in comedies and in "Some Punkins" with Ray, she was chosen a 
Wampas star. 

Nine times out of ten that is enough of a break for any one with 
any talent. In Duane's case it militated against her rather than in 
her favor because, following this distinction, a jinx fastened itself 
on her which she has never been able to shake off although she 
valiantly fought back. 

The)? Got What 

Among players great and small in Hollywood the 

But when it comes, too often it proves to be a snare 

bitter let-down. This informative article 

By Samuel 

Directly after the Wampas selection, she was signed for 
the lead with Alexander Carr, in "April Fool." This fin- 
ished, Fox chose her for the ingenue in "The Return of 
Peter Grimm." To play in this picture she was forced to 
refuse offers of leads in two others, both of which turned 
out to be outstanding hits. After Duane had rejected these 
two offers, Fox decided to use Janet Gaynor — at that time 
little known — in the role, and Duane was left high and dry, 
without explanation. 

She has worked since then, but she has never been able 
to overcome her jinx, and to date her breaks have meant 
nothing. One reason advanced for her failure to click is 
that she has too much character to play 
ga-ga flappers, and not the stature for 
heavy roles. This is possible, although, 
if photographed from certain angles, 
she looks enough like Pauline Frederick 
to be her twin. Whatever the reason, 
it is too bad. 

Take the case of Virginia Lee Cor- 
bin. Six big pictures* in one year — 
"Headlines," with Alice Joyce and Mal- 
colm McGregor, a starring contract in 
"Lilies of the Streets," and "The City 
That Never Sleeps," supported by Ri- 
cardo Cortez and Louise Dresser. In 
this she wore her first long dress, being 

Prince Youcca 
Troubetzkoy once 
was leading man 
for Pola Negri, 
surely the break 

What good did 
Blondes" do 

"Gentlemen Prefer 
Ruth Taylor? 


Trie? Wanted, But 

theme song is "Give me a break — give me a chance!" 
and a delusion, bringing only momentary glory and a 
cites the fate of some conspicuous cases. 

Richard Mook 

thirteen years old at the time. Followed "The Cafe of Fal- 
len Angels," directed by James Cruize, "Broken Laws," co- 
featured with Mrs. Wallace Reid, Arthur Rankin, and 
Percy Marmont, and "The Chorus Lady," in which Mar- 
garet Livingston starred. 

On the strength of her performances in these pictures 
she was chosen a Wampas star in the same year as Duane 
Thompson. She is a good dancer, too, as she proves in 
Colleen Moore's "Footlights and Fools," but the fans have 
never accepted her. 

At present she is in the East in 
quest of a stage engagement. Her 
mother vouchsafes the opinion that 
her daughter belongs more to the 
stage than to the screen, adding that 
"Virginia has always been difficult to 
handle, possibly because she feels the 
deep emotional power within herself 
and is, therefore, not content to por- 
tray the silly, flapper roles that are 
given her." 

Whatever the cause, Virginia's 
name appears less and less frequently 
on the billboards, and she has never 
done anything to justify the breaks 
she undoubtedly has had. My own 
opinion is that she grew up about ten 

Duane Thompson is said to have 

everything the screen wants, but she 

languishes in neglect. 


too late. Ten years ago her blue- 
>lond prettiness would have made 

fo-day her type 

Twice Roland Drew 
played opposite Do- 
lores del Rio in big 



her an instant favorite 

is passe. 

Hugh Allan burst into fame in "Dress 
Parade" in support of William Boyd. He 
worked almost steadily for a year after 
that, among his pictures being "Hold 'Em, 
Yale," with Rod La Rocque, and "Annapo- 
lis," with John Mack Brown. His no- 
tices were almost uniformly good. In fact, 
although cast as the heavy in "Annapolis." 
when the picture was previewed it was 
found that 1 high bad all the sympathy and 
it was necessary to retake many of the 
scenes in such a way as to leave no doubt 
that it was John Mack's picture and not 

Many a maid spent sleepless night-, as T 
can testify since reading some of his fan 
mail, after seeing his handsome face flash across the screen. Hugh's 
failure to click may he attributed solely, I believe, to lack of pub- 
licity. In addition to his good look- and rather pleasing voice, he 
has sense and refinement. 

Coming hack to the Wampas. Lina Basquette rode into promi- 
nence on a wave of sympathy. She was working with Adolphe 
Menjou, in "Serenade" — one of his lust, incidentally. During the 
making, her husband, Sam Warner, died. Steeped in the traditions 
of the stage. Lina realized only one thing. It was that despite per- 
sonal grief, "the show must go on." Rather than hold up produc- 
tion, she continued during the time of her husband's death and his 
funeral. Her splendid spirit won the admiration of the producers, 
who were anxious to sign up girls like that. 

Before "Serenade" was released Cecil DeMille offered her the 
lead in "The Godless Girl," and on the strength of these two en- 
gagements she was elected to the Wampas coterie. 

Partly on account of the Wampas publicity and partly because 
of her connection with the two Alms noted above, neither of which 
had been released, she was signed for leads opposite Richard Bar- 


They Got What They Wanted, But- 

Sally Phipps, a piquant beauty, played 
leads in several popular pictures. 


Hugh Allan created a furore 

in "Dress Parade," but his 

fans look vainly for him 


thelmess in two pictures. tins engage 
ment finished, her films began to be 
shown and since then Lina has done noth- 
ing worthy of note. Apparently a case 
of a lucky break, with nothing to back 
it tip. 

Mary Duncan came to Fox fresh from 
her stage triumph as Poppy, in "The 
Shanghai Gesture." She was starred in 
her first picture as well as in subsequent 
ones — "The River" and "Our Daily 
Bread," both with Charles Farrell, and 

"Through Different Eyes" and "The City Girl." When "The Four 
Devils" was first shown as a silent picture in New York she was 
starred above the title of the picture, Janet Gaynor, Barry Norton, 
Charles Morton, and Nancy Drexel being merely featured. 

The picture was withdrawn to have talking sequences added and 
when it was released a second time, Janet was starred and Mary 
Duncan was only featured with the others. As this goes to press she 
is working in "Conquistador" as a featured player, but her breaks 
have meant nothing to her, for the public and the critics have never 
accepted her as a first-rate screen actress. 

Betty Bronson got all the publicity in the world when she obtained 
the coveted role of Peter Pan and created a sensation a few years ago. 
Mary Brian and Esther Ralston were merely members of the cast. 
The latter two rose to the heights without the usual breaks, while Miss 
Bronson dropped from sight for a time, eventually coming back to 
score another bull's-eye in "A Kiss for Cinderella." This seems to 
indicate that she is a one-part actress and there are, unfortunately not 
enough of those parts. 

She disappeared again after the latter picture, nothing much being 

heard from her save an occasional plaintive aria from one of the horse 
operas she was making. Suddenly the bell clanged loudly. Betty had 
hit it a third time supporting Al Jolson, in "The Singing Fool." 

I expected a starring announcement after that, but nothing happened 
except a paragraph announcing her departure for Europe on a vacation. 
She has the reputation of being the most ill-advised girl in pictures. 
Whether it is that, or the fact that she does not have to take her career 
seriously, or that she has been shifted from one type of part to another 
so frequently that the public has never had a chance to classify her, I 
do not know. But she has never achieved the position to which her dis- 
tinctive ability entitles her. 

A similar case is that of Ruth Taylor. When she was exploited in 
"Gentlemen Prefer Blondes," you couldn't pick up a magazine or news- 
paper that didn't have a picture or paragraph about her in it. She was 
the "find" of the year, according to the studio. However, when the 
smoke of battle cleared, Alice White was marching serenely toward 
stardom, while Ruth listened rather vainly for the plaudits expected 
from her break. 

Finding film work scarce, she went on the stage and got some good 
notices. The talking craze hit Hollywood and now she is working in 
two-reelers for Christie, but it is doubtful if she will ever be able to 

cash in fully on the 
break she got. 

I think the public 
resented the choice of 
Ruth Taylor in pref- 
erence to some of its 
favorites who were 
publicized as being 
very anxious for the 
role. Possibly this had 
much to do with the 
lack of enthusiasm 
which greeted her per - 
formance in "Gentle- 
men Prefer Blondes." 
Malcolm McGregor 
got splendid notices 
for his work in "The 
Prisoner of Zenda" — 
better, in fact, than 
Continued on page 94 

Mary Duncan was 
starred in "The Four 
Devils" and "The 
River," but what of it? 


1 he lorso 1 riumphant 

Physical culturists all over the world point to George O'Brien 

as a powerful example of what constant, intelligent training 

will do to the human body, while George himself gets as much 

satisfaction out of his fitness as he does from his acting. 

Mr. O'Brien, left, finds standing on his 
hands almost as easy as standing on his 
feet. All one .has to do, he says, is to use 
one's shoulders as an axis and throw one's 
feet overhead. Sounds simple to George, 
but it requires trained muscles. 

Mr. O'Brien's surf board, right, is indis- 
pensable to the equipment of his beach 
home. Having been made to his order, it 
is exactly the right weight, size, and bal- 
ance — very important points to remember 
when you try the sport. 

George, left, reduces his tennis 
equipment to the least possible 
weight and laughs at those who 
prefer fancy sweaters and such. 
But this simplicity of garb i 
sible only in California, at his 
beach home. 

In the pink of condition, tireless, and not pubj- 
the little ills of ordinary folk, George O'Brien, 
s always ready for a race or a swim to ke. 
torso triumphantly strong and muscular. It's all a 
matter of inclination, of course, says the sedentary 
individual who writes the<c captions between rheu- 
matic twinges and shortness of breath. 


Julia Faye, Kay Johnson, and Conrad Nagel respond to Cecil DeMille's demand for perfec- 
tion in "Dynamite." 

ere erv m E>eVieur 

Cecil DeMille redeems himself with a glorious gesture to the box-office, stage players 
score on their first appearance in pictures, and the fall season is in full swing. 

CECIL DeMILLE'S first experiment with dialogue 
is completely successful. In employing speech to 
drive home points, as well as play upon nuances of 
thought and feeling, he has produced a brilliantly effec- 
tive picture called "Dynamite," yet dialogue entails no 
sacrifice of the traditions of the screen — and of DeMille. 
The film has movement, excitement, the strong, far- 
fetched contrasts in which he revels, as well as the 
uniquely glittering embellishment for which he is fa- 
mous, including something trcs chic in the way of bath 
tubs — a glass one ! 

Often "Manslaughter" has been cited as his picture 
of most popular appeal. This, in my opinion, exceeds 
it. For, aside from the newly found advantage of 
speech in portraying character and emotion on the screen, 
the situations in "Dynamite" are poignant, contrived 
with the utmost skill to pique curiosity, to accumulate 
suspense and gradually to storm the emotions. All this 
is timed with tactful shrewdness, directed with superb, 
easy authority, photographed beautifully and acted mag- 
nificently. "Dynamite" is an astonishing picture. 

A recital of the plot would give you the same unfavor- 
able reaction that it gave me before I saw the picture, 
for robbed of its optical and aural appeal it is, I fear, 
completely moviesque. I am faintly ashamed of it, be- 
cause the bare synopsis has Cynthia Crothers bound 

by the terms of her grandfather's will to marry and live 
with her husband on her twenty-third birthday in order 
to inherit untold millions. And Cynthia is in love with 
a married man, Roger Tozzme, the husband of her 
friend, Marcia. So the girls talk things over, Marcia 
asking $200,000 to divorce Roger and Cynthia offering 
half that amount, in the deliciously cynical manner ex- 
pected of society people animated by Mr. DeMille and 
Jeanie Macpherson. But when you see this scene 
played in dialogue by Julia Faye, as Marcia, and Kay 
Johnson, as Cynthia, it takes on unexpected values — ■ 
and you believe it, as you do the whole story. , 

When Cynthia and Marcia make their pact, there is 
still another step that Cynthia must take to be sure of 
her inheritance. She must marry at once, for the time 
before her birthday is short. So she offers $10,000 to 
Hag on Derk, a miner convicted of murder, to go through 
the ceremony before his electrocution. But within a 
few minutes of the fateful moment he is pardoned 
through discovery of the real murderer. He goes to the 
girl's modernistic home to see what's what while a jazz 
party is in progress. 

Out of this situation it is no tax on the imagination 
to believe that Mr. DeMille and Miss Macpherson have 
left no stone unturned, no word unsaid, no emotional 
impasse unguarded to build up a climax that shall unite 

The Screen in Review 

the pampered society girl and the rough miner. 
It is an ostrich plume in their respective caps that 
they have been able to do it believably. 

In this they are immensely aided by the actors. 
Kay Johnson, on the occasion of her debut in 
pictures, gives a breathtaking performance of 
sheer beauty. Sensitive, eloquent, gayly humor- 
ous, agonized, tragic, she reaches perfection so 
often that one sits hack and defies her to miss 
a step in her marvelous play upon the emotion-. 
Charles Bickford, also from the stage and a de- 
butant, too, is the miner. His performance could 
not he bettered, his stalwart honesty so convincing 
that it springs from inner conviction rather than 
any apparent histrionism. Julia Kaye, heard for 
the first time, is amusingly feline and her light, 
expressive voice fits perfectly the characters she 
usually plays. Conrad Nagel, as Roger, is at his 
best, and from time to time the spectator is 
treated to sharply etched bits of fine acting by 
Muriel McCormac. Leslie Fenton, Robert Ede- 
son, and Jane Keckley, and pleasing glimpses of 
Joel McCrea, Nancy Dover, and Scott Kolk. 

Murder in the First Degree. 
Once again the craze for musical comedy not 
only relegates a strong, dramatic situation to the 
background, but deliberately stifles it. This ar- 
tistic crime occurs in "The Great Gabbo," which 
should have been a brilliant picture but isn't, even 
though a fortune has been spent on prancing 
chorines and languid figurantes in spectacular set- 
tings, some of them in color, all to the end of 
bringing the "Follies" to the "sticks," I suppose 
But the screen has not yet succeeded in reproduc- 
ing precisely the sumptuous glamour of a Ziegfeld 
show. So that's that. Betty 

What remains of the story after the interrup- 
tions of pageantry and dancing, concerns Gal^bo. 
a ventriloquist, cruel, domineering, a super-egoist, whose 
assistant, Mary, is devoted to him. They struggle along 
in cheap theaters until the inevitable occurs. Gabbo gets 
on the big time and eventually is the stellar attraction of 
musical comedy. Meanwhile Mary has been dispensed 
with, but she too rises and coincidence brings them to- 
gether in the same show. After a struggle with himself. 
Gabbo realizes that he loves her and that he has never 
been happy without her. The dramatic climax, such as 
it is, consists of nothing more startling than Mary's 
revelation of her marriage to Frank, a singer in the 
troupe, and Gabbo's agonized withdrawal. Naturally 
his anguish is intensified by the discovery of Mary's 
bad taste in preferring Don Douglas to Erich von 

Missed opportunities in the picture center around the 
character of Gabbo, a figure of fascinating complexities 
hardly suggested in the treatment accorded him by 
scenarist and director. Outwardly cruel and hard, he- 
is at heart tender, poetic. Terrified by what he knows 
to be his real self, he conceals it from the world — all 
but Otto, his dummy, to whom he pours out his heart 
and who, through the words Gabbo puts into his mouth 
becomes more human and lovable than his master. 

Surely an interesting character study this Gabbo. but 
his inner conflict is hardly more than suggested, all the 
care having been lavished on the musical comedy stuff. 
However, it is hardly a negligible picture and Mr. Stro- 
heim's Gabbo is, as might be expected, unlike the role 
would have been had any one else played it. Further- 
more his voice, heard for the first time, isn't nearly so 
Teutonic as expected. Betty Compson, as Mary, plays 
a backstage role familiarly. 

Compson and Erich von Stroheim share honors with a 
ventriloquist's dummy in "The Great Gabbo." 

For Those Who Know. 

"The Lady Lies" is a picture to smack one's lips over. 
It is enormously intelligent in every particular — story, 
direction, dialogue, acting — and it has the additional 
virtue of novelty. There's nothing hackneyed or Holly- 
woodish in the drama of a father whose children, hardly 
out of the nursery, decide to break up his liaison with 
a lady outside the social pale. Nor is there anything 
routine in the acting of Walter Huston, as the father, 
and Claudette Colbert, as the lady. It is impressively 
simple, sincere, modern. Xot only should it be seen by 
every fan. but it should also be observed reverently and 
a little fearfully by the majority of the ladies and gentle- 
men of tlie screen who have recently broken into speech. 
for it is an augury of the new standard acting is attain- 
ing, and proof that speech can be free of elocutionary 
taint vet possess the polish and expressiveness that come 
only from cultivation and long practice. 

This is true equally of Mr. Huston and Miss Colbert, 
but as this is the hitter's second dialogue picture it is 
doubly refreshing to record her complete success and 
to wax jubilant over her photographic values, more 
apparent now than in "The Hole in the Wall." In 
every respeel Miss Colbert is a "find" of purest ray 
serene. One hopes that her allegiance to the stage will 
at least be temporarily lessened in order that she may 
make not only an occasional picture, but frequent one-. 

Her role is unusual. Joyce Roamer, a charming girl 
in a smart shop, permits Robert Rossiter, a widower, to 
provide her with an apartment because they love each 
other. Hut when his fourteen-year-old son becomes 
aware of the affair and tricks her into coming to see him. 
she is made to realize that she stands between tin 


The Screen in ReVieW 


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"Our Modern Maidens. 

"Big Time. 

and his sister and their father. But she refuses to give up Rossitcr, 
even when she hears the hoy declare that he should marry a woman 
in his own set. Finally the children are made to repent their inter- 
ference and realize that Joyce is a thoroughbred. 

This gives but slight inkling of the plot, often tense in its de- 
velopment, and not a hint of the gay, sophisticated character studies 
contributed by Charles Ruggles and Betty Garde. And I'm afraid 
that even my unbounded enthusiasm doesn't do justice to the 
loveliness, charm, and skill of Miss Colbert. Please see her and 
decide if "The Ancient Mariner" isn't right. 

Introducing Winnie Lightner. 

Though "Gold Diggers of Broadway" throws no new light on 
the subject of either gold digging or Broadway, the attractive 
title calls attention to another musical comedy of the films. 
Like "On With the Show" it is entirely in color and this, to- 
gether with dialogue, singing, and dancing, will put the picture 
over with those who are easily diverted by entertainment of the 
lightest sort. 

It frequently reveals pronounced optical beauty, it has moments 
of hilarity and there is at least one song hit, "Tip Toe Through the 
Tulips With Me." Yes, it has all these elements of popularity, but 
— and I may as well break down and confess all — it made me restive 
when it attempted to tell its pale, little story. When musical 
comedy was rampant, I had no kick coming, because one can think 
of something else if there isn't enough on the screen to hold a 
vagrant mind. But when plot peeps timidly between the interstices 
of swaying choruses, the spectator sends his intelligence to meet 
and welcome it. If the story is anaemic, old-fashioned, and not 
worth while, he retires within himself and lets others applaud the 
dancing, singing, and choral groupings. That's exactly what hap- 
pened to me in watching "Gold Diggers of Broadway." 

We thought the original comedy sophisticated and pungent on 
the stage nine years ago, because it was a cynical exhibit of the 
private lives of show girls, with enough sure-fire sentimentality to 
make it popular with those who overlooked its worldly implications. 
But times have changed and gold-digging chorines are looked upon 
casually nowadays. So the yarn of wealthy Stephen Lee, who sets 
out to rescue his juvenile relative from a mercenary chorus girl, 
and ends by falling in love with one himself — no, no Nanette, this 
won't do for the merry year of 1929. 

Ah, but there are compensations. A new one materializes every 
time Winnie Lightner appears on the scene. She is a rowdy comic, 
late of musical comedy and vaudeville. Possessed of the enviable 
quality of disarming criticism by the sheer gusto of her clowning, 
Miss Lightner adds to it a warmly human friendliness that makes 
you feel it wouldn't be right to utter a word of reproach if she 
spilled the soup down your back. She saved the show for me — 
she and Lilyan Tashman in the role of a ritzy chorus girl. 

Conway Tearle's return to the screen emphasizes the well-worn 
axiom that time cannot be stayed in its flight, even by color pho- 
tography, and that disdainful acting no longer evokes enthusiasm. 
Nancy Welf ord forsakes " the stage to play the heroine coolly, 
capably and colorlessly, in spite of all the color surrounding her. 
And Ann Pennington, the dancer, also leaves the stage to its fate 
to challenge the camera, but exhibits little of the dancing that has 
made her famous. Familiars such as William Bakewell, Albert 
Gran, Gertrude Short, Lee Moran, and Nelly Edwards are pleas- 
ant to see in their proper element, and Nick Lucas, from the stage 
and radio, is a sort of crooning interlocutor. 

Such Is the Kingdom of Heaven. 
Frequently an unpretentious picture has the charm denied a big 
one, but not often is a trite story lifted into realms of greatness 
by the acting of a single performer. But Lee Tracy, the stage actor, 
does just this with "Big Time," the film which accomplishes his 
debut. Though just another backstage story of a vaudeville hoofer 
who deserts his wife for a blonde menace, his new partner, Mr. 
Tracy invests it with such intimacy, reality, and poignance that 
his performance ranks with the best the screen has yielded this 
season, and the picture becomes a triumph of a lesser sort. With 
such gifts as Mr. Tracy brings to it, I should like to call it a 

The Screen in Review 


major triumph, but the modesty of the film is such that one 
feels it would be an embarrassment to place it in a class high< r 
than its intent. 

The story traces the humble professional Deginnings of Eddie 
Burns and Lily Clark, whose partnership ripens into marriage a» 
they struggle along the small-time circuits. Finally, the coming of 
a baby makes it necessary for Eddie to hire a substitute partner in 
Gloria, who succeeds in vamping him at the momenl a telegram 
comes offering big time. At the same moment comes also his wife 
who, quickly sensing the situation, leaves Eddie to his fate with 
Gloria. Soon he loses his foothold as a big-time attraction and 
his quick descent rids him of Gloria. Reduced to slinging hash, he 
hears that his wife is in Hollywood where, as a starving extra, he 
meets her, a star. Of course there is quick reconciliation, which 
surprises no one. But beauty and truth and tenderness are found 
in Mr. Tracy's marvelous portrayal of the dancer — a portrait so 
delicately etched that one is thrilled by the actor's uncanny and 
seemingly effortless grasp of a moment charged with emotion by 
means of a catch in his voice, a stammer, a laugh that ends before 
it is heard. Mae Clarke, who is also from the Stage, plays the wife 
with moving sincerity, and Josephine Dunn is, as usual, perfect as 
the heartless blonde. Stepin Fetchit, the negro actor, creates laughs 
as a keeper of trained seals. 

Queen of Frenetics. 

After "The Letter" any appearance of Jeanne Fagels is im- 
portant, for she is always arresting, intelligent, provocative, indi- 

She is all these in "Jealousy," but the picture doesn't coalesce 
into a strong attraction, and certainly not one strong enough for 
Miss Eagels. One of the reasons lies in the fact that the play was 
written for two characters only, Yvonne, the mistress of a rich, old 
man, and Pierre, the poor, young artist whom she marries. In 
bringing it to the screen the producers have necessarily included 
scenes and characters that were only spoken of in the original 
dialogue. The result is a somewhat rambling narrative lacking 
distinction, or marked sympathy for any of the characters. But it 
is worth seeing for the sake of Miss Eagels, who makes Yvonne 
a fascinating figure far from the conventional heroine with a "past." 
She marries Pierre, because she really loves him and lies to escape 
the consequences of her deception. But when his jealousy becomes 
more and more intense, she is drawn by further lying into an im- 
passe from which there is no escape. The climax comes when her 
former lover is murdered and an innocent man is arrested, a fine 
note of irony occurring when Pierre confesses his crime to Yvonne 
at the moment newsboys are shouting the news of the other man's 
release. And that's all there is to it. 

Fredric March, as Pierre, does well enough in a role that some- 
how isn't interesting, but Halliwell Hobbes, from the stage, per- 
forms brilliantly as a man that is— the rich lover, 

A Modern Miles Standish. 

If you like thrilling airplane maneuvers, you will find them the 
feature of "Flight," and finely done they are, too. But if you 
demand something more of screen entertainment, you will find 
the picture rather weak. For example, in the story and char- 

At the outset it is only fair to say that the acting of the princi- 
pals, Jack Holt, Ralph Graves, and Lila Lee, is good. But what 
they are called upon to do is not exactly adult, though Heaven 
knows Mr. Holt has passed the age of indiscretion in acting, lie 
is "Panama'' Williams, a sergeant in the marine Hying corps, given 
to talking out of the side of his mouth and expectorating tobacco 
juice, but so shy that when it comes to telling Lila Lee. as Nurse 
Elinor, that he loves her, that — well, he just has to get his youthful 
protege to do it for him. The protege is Mr. Graves, as "Lefty" 
Phelps, a football player, who has joined the marines in an an- 
guished effort to forget the stigma which he fears will forever 
brand him as long as men in civilian life regard him as a pariah. 
My, my, what is the stigma, you ask? Have a heart — Lefty was 
guilty of a faux pas on the football field. So far as I could see. 
he just ran the wrong way. [Continued on page '">] 

"Gold Diggers of Broadway. 


"The Hottentot." 

"The Girl from Havana." 


A Confidential Guide to Current Releases 


"Hollywood Revue" — Metro- Gold wyn. 
All singing and talking. Highly enter- 
taining kaleidoscope of songs, dances, 
and skits, with an impressive list of 
stars. Like a glittering stage revue, 
with no story, yet not a dull moment. 
Marion Davies, Marie Dressier, and 
Albertina Rasch ballet take honors. 

"Hallelujah" — Metro-Goldwyn. All 

dialogue. An epic in its true meaning 
in the portrayal of the ups and downs 
of a cotton-belt Negro family, as the 
film reveals the inner life in striking 
interpretations. There has never been 
a film like it in the dramatic sweep of 
a simple plot. All Negro cast directed 
by King Vidor. 

"Cock-eyed World, The"— Fox. All 
dialogue. An explosive, profane, and 
rather vulgar, but highly diverting, con- 
tinuation of the amorous adventures of 
Top Sergeant Flagg and Sergeant Quirt 
of "What Price Glory?" The war over, 
new affairs are found to blossom in the 
tropics. Victor McLaglen, Edmund 
Lowe, Lily Damita, El Brendel. 

"River of Romance" — Paramount. All 
dialogue. An old film made over for 
talkies, with Buddy Rogers "The Fight- 
ing Coward," who refuses to fight, hut 
gets results by bluffing. Dueling pe- 
riod of the South. Acting of high or- 
der, atmosphere authentic. Alary Brian, 
June Collyer, Wallace Beery. 

"Last of Mrs. Cheyney, The" — Metro- 
Goldwyn. All dialogue. Drawing-room 
drama, whose heroine edges into society 
to rob her hostess, with tricky and arti- 
ficial aspects to whole story. Norma 
Shearer does well. Basil Rathbone, 
Hedda Hopper, George K. Arthur, 
Maude Turner Gordon, and several 
stage recruits. 

"Dance of Life, The"— Paramount. 
All dialogue. Taken from the play 
"Burlesque," backstage life is pictured 
sympathetically and grippingly. The 
story of a little dancer who sticks to 
her worthless husband, a likable clown. 
One of real backstage pictures. Hal 
Skelly, Nancy Carroll, Dorothy Revier, 
and excellent support. 

"Single Standard, The"— Metro-Gold- 
wyn. Brilliant acting by Greta Garbo, 
although the story is not an inspiration. 
Arden Stuart attempts to live her own 
life freely, but conventional mother love 
dispels her theories. Nils Asther, John 
Mack Brown, Dorothy Sebastian, Lane 
Chandler, Robert Castle, Kathlyn Wil- 

"Greene Murder Case, The"— Para- 
mount. All dialogue. William Powell 
with a smoother and greater interpretation 
of Philo Vance, the popular fiction detec- 
tive. Strong mystery unraveled to sur- 
prising solution, with fine performances 
and restrained lines. Florence Eldridge, 
Ulrich Haupt, Jean Arthur. 

"Evangeline" — United Artists. The 
familiar poem done with great pictorial 
beauty and moments of poignant emo- 

tion. Dolores del Rio's finest perform- 
ance since "Resurrection," sincere and 
infinitely pathetic. Roland Drew and 
Donald Reed good support. 

"Thunderbolt"— Paramount. All dia- 
logue. Romanticized movie under- 
world, with exceptional touches paving 
the way for excellent acting. George 
Bancroft, as the king gunman, seeks 
revenge by framing a rival lover, but 
is himself undone. Fay Wray reveals 
hidden talents, and Richard Arlen 
scores. Good supporting cast. 

"Dangerous Curves" — Paramount. All 
dialogue. Rattling good -picture, with 
Clara Bow in a serious role. Heart 
tangles in a circus troupe, with unex- 
pected developments. Strong support 
from Richard Arlen, and intrigue de 
luxe by Kay Francis. David Newell 
also a nice addition. 

"Fashions in Love" — Paramount. All 
dialogue. Adolphe Menjou's first talkie 
and last picture for Paramount, and 
one of his most engaging ones. Deft 
story of philandering husband and a 
wandering wife who went back to 
their respective home nests. Fay 
Compton, Miriam Seegar, John Miljan. 

"Wonder of Women" — Metro-Gold- 
wyn. Part dialogue. Dignified, beauti- 
ful portrayal of a genius who fled from 
his simple fireside to renew his associa- 
tions with a prima donna and his awak- 
ening to his true inspiration. Marvel- 
ous acting by Lewis Stone, and Peggy 
Wood ideal as his wife. Leila Hyams 
the singer. 

"She Goes to War" — United Artists. 
Incidental sound. War picture with 
unusual story and magnificent acting, 
in which a girl dons her drunken 
fiance's uniform and goes to battle, 
and is awakened to real life. Alma 
Rubens and Eleanor Boardman give 
fine performances, and the talents of 
Edmund Burns are 'brought out. Tohn 
Holland, Al St. John, Yola d'Avril, Glen 
Walters, Eulalie Jensen. 

"Studio Murder Mystery, The" — Par- 
amount. All dialogue. Film studio 
crime unraveled by gag man and po- 
lice, with suspense, many laughs, and 
after_ suspicion points to five persons, 
a satisfactory solution is hit upon. Neil 
Hamilton in leading role gives engag- 
ing performance, Fredric March the 
murdered actor. Florence Eldridge's 
talking debut. Warner Oland, Doris 
Hill, Lane Chandler, Eugene Pallette, 
Chester Conklin. 

"Where East Is East"— Metro-Gold- 
wyn. Silent. Troubles of a jungle 
animal hunter, who seeks happiness for 
his untamed daughter. Lon Chaney as 
you would expect him, Lupe Velez, and 
Estelle Taylor in a brilliant role. Lloyd 
Hughes also at his best. Splendid at- 
mosphere and a picture to see. 

"Man I Love, The"— Paramount. All 

dialogue. Striking film of prize fight- 
er's drifting and his come-back in the 
nick of time. Richard Aden's pleasing 

talkie debut as the fighter who is cap- 
tivated by Baclanova, but in the end 
knows his heart is with his wife, Mary 
Brian. Swiftly presented, engrossing. 
Leslie Fenton effective. 

"On With the Show"— Warner. All 
dialogue, singing, dancing, and entirely 
in color besides. Gayety and beauty of 
musical comedy, with young love of an 
usher and coat-room girl, with other 
issues galore. Entire cast does well. 
Betty Compson, Louise Fazenda, Sally 
O'Neil, Joe E. Brown, William Bake- 
well, Arthur Lake, Wheeler Oakman, 
Sam Hardv. Etkel Walters. 

"Bulldog Drummond" — United Art- 
ists. All dialogue. A melodramatic 
thriller, with sophisticated viewpoint 
which makes fun of what transpires. 
Story of bored ex-war hero, who ad- 
vertises for adventure and gets it. 
Ronald Colman vitalized and remade 
by speech, giving memorable perform- 
ance, ably seconded by Joan Bennett, 
Lilyan Tashman, and Montagu Love. 

"Madame X" — Metro-Goldwyn. All 
dialogue. Old-time melodrama of 
mother love superbly vivified by fresh 
dialogue, modern direction, and superb 
acting, with Ruth Chatterton and Ray- 
mond Hackett as mother and son reach- 
ing heights of tear-wringing emotion 
in famous courtroom scene, where 
wretched woman charged with murder 
is defended by son taught to believe her 
dead. Lewis Stone, Eugenie Besserer, 
Mitchell Lewis, Holmes Herbert, and 
Ulrich Haupt. 

"Valiant, The"— Fox. All dialogue. 
Grimly uncompromising picture notable 
for introduction to screen of Paul Muni, 
whose place among leaders now is un- 
challenged. Story of murderer's efforts 
to convince sister that her brother is 
not himself, but a soldier who died a 
hero. Marguerite Churchill also fine, 
and John Mack Brown does well. 

"Pagan, The" — Metro-Goldwyn. Sing- 
ing. Treat for Ramon Novarro's fans 
and justification of all they've read of 
his singing voice, which is delightful, 
exceptional. Story of young South Sea 
Islander's love for half-caste girl. Dor- 
othy Janis, Renee Adoree, and Don- 
ald Crisp. 

"Rainbow Man, The" — Paramount. 
All dialogue. An irresistible picture, 
with finely balanced sentiment and fun, 
with Eddie Dowling, the stage star, and 
his young partner, Frankie Darro, in 
minstrel-show settings. They find 
Marian Nixon and love and trouble. 
Dowling is a knock-out. 

"Divine Lady, The" — First National. 
Silent. A series of exquisite paintings 
animated with poetic feeling and a little 
drama. Lovely presentment of Lady 
Hamilton by Corinne Griffith and 
finely modulated Lord Nelson by Vic- 
tor Varconi. H. B. Warner, Ian Keith, 
Montagu Love, Dorothy dimming, 
Marie Dressier. 

[Continued on page 118] 


Tke Stepchildren 
Make WKoopee 

A small group of young, foreign-born devotees of 
cinema art are keenly happy with their evenings 
of home cooking and lively talk of the finer things. 

By Madeline Glass 

OVER hills and down dales we went, sweeping 
around curves, following the winding highway at 
a pace as torrential and dangerous as it was un- 
necessary. Barry Norton sat at the wheel of the road- 
ster, arms bare, collar open, a hlack tarn pulled snugly 
over his head. In the back seat Lilya Vallon, the dancer, 
and Bert Le Baron, the actor, hent their heads against 
the fierce onrush of wind and consigned their fates to 
the gods. 

"Why," I inquired, leaning nearer the speed demon, 
"are you in such a hurry?" 

"I want to get there ahead of the rest of the gang." 
Barry shouted, his determined gaze never leaving the 
gray strip of graveled road. 

Although we were going at a seventy-mile clip, an- 
other car appeared behind us, drew gradually and per- 
sistently nearer, until we finally got a signal to stop. 
An expression of acute apprehension flashed over Nor- 
ton's features. Barry, the most arrested actor 
in Hollywood, did not relish further trouble 
with the arm of the law. 

The four of us sat in guilty silence watch- 
ing the officer approach. What a dismal way 

Lilya Vallon, actress, dancer and singer, is one 
of the lights in the little foreign circle. 

Tlioio by Ball 

Photo by Duncan 

Ramon Romero, the scenarist, is a 

free spirit who indulges in gay 

suspenders and garlic. 

Barry Norton, a leader in 
the group, says that America 
has art, but does not appre- 
ciate it. 

to start a gay Sunday out- 
ing! The policeman made 
straight for the driver, who 
was wearing his most guile- 
less expression. 

"I just want to warn you 
to be careful," began the 
officer, in a soft, ingratiat- 
ing voice. "You are driv- 
ing too fast. I want you 
to have a good time, make 
whoopee, hut drive a little 
slower. We are all to- 
gether," he concluded gen- 
tly, "and 1 want you to en- 
joy yourself, hut just he 

1 le shook hands twice with 
the men in the car. who 
apologetically promised obe- 
dience to the law. Miss 
smiles and grateful thank-, 
and the four 

Vallon and I bestowed upon him our 

A few more reproving words in that benevolent tone 

of us would have wept on his shoulder. 

"He's drunk," said Barry, laughing, as we went on our way. 

Drunk he was, alas ! 

Later we told the gang about the incident, describing the officer's 
dulcet voice. 

"I'll bet he's practicing for the talkies." said Ramon Romero. 
the scenarist. "I was arrested on a traffic charge not long ago," 
he continued. "When I told the judge how it happened, he took 
pity on me and let me off without a line. As 1 left the court I was 
thinking bow lucky I was. and absentmindedly picked up the judge's 
hat and wore it away. When I discovered the mistake. I was afraid 


The Stepchildren Make Whoopee 

Photo by Bruno 

Good cooking is the party gift of Gloria Gray, 
ingenue during working hours. 

to return it, as he might have 
changed his mind about the 

I became acquainted with 
them about a year ago, these 
playful, reckless, mercurial 
stepchildren of Hollywood. 
Nearly all the young people 
comprising this particular 
gang are foreign born, and all 
of them are pursuing a career. 
Actors and actresses predomi- 
nate, with a number of writers 
and dancers lending variety. 
Their lives sweep along on 
precarious artistic seas, to-day 
in the trough of despondency, 
to-morrow on the crest of op- 
timism and good fortune. 

Although they have some 
of the characteristics of the 
traditional bohemian, they ac- 
tually do not belong in that 
group. Bohemianism usually 
is indicated by bizarre studios 
and sunless apartments, in- 

Paul Ellis is a South American 
whose life is swept along be- 
tween harmless whoopee and 
artistic pessimism. 

a promising 

habited by young people who work hard at being dif- 
ferent. The bohemians of Hollywood, if one may call 
them such, are surrounded by beacbes and sunsets and 
gay bungalows. It is not necessary for them to attempt 
to be different ; nature saw to that. 

Unlike the annoying, artificial puppets who raced 
wildly through modern-youth films, talking in a series 
of labored wisecracks, these young folk have their 
serious moments, their worthy ambitions, and their 
surprisingly alert minds. They discuss everything 
from garlic to grand opera, and read the most striking, 
if not the most profound, literature. Some of them 
speak several languages ; some are skilled musicians. 

An extremely interesting character is Ramon Ro- 
mero. His father is a Roumanian, his mother a Span- 
ish Jewess. The family name is Moscovisch, but upon 
entering the writing profession, Ramon changed it to 
Romeo. Barry Norton kidded him so much that he 
soon altered it to Romero. At any rate, Ramon is a 
very interesting individual. When not making whoopee 
with the gang, he writes scenarios and plays, "The 
Apache" and "Tropic Madness" being examples of the 
former. His conversation is smart and entertaining. 
One of his prime ambitions is to have a stately home 
with the name "Casa Nova" brazenly topping the front 
gate. He would think of that. 

Another conspicuous member of the gang is Marcel 
de Biraben, brother of Barry Norton. He came from 
the Argentine a few months ago as correspondent for 
several Buenos Aires newspapers. These two brothers 
and Paul Ellis, born Manuel Granado, are the only 
South Americans in the movie colony. Paul is a re- 
served and likable chap and, like most of the others, is 
trying desperately to discard his accent. Four out of 
five suffer from this ! I must say that Hollywood will 
lose much of its color and spice, if it is ever recaptured 
by the Americans. 

And then there is Gloria Gray, an ingenue of prom- 
ise, whose success in the movies has been intermittent. 
She has been working steadily the past few months 
and, if given the right opportunity, she will score. Re- 
member her as the heroine in "The Girl of the Lim- 

berlost." Gloria is of the 
Alice White type, with thick, 
golden hair and immense, 
blue eyes. She plays the pi- 
ano, rides splendidly, drives 
her own car, and cooks. Yes, 
cooks. I've seen her, and 
I've eaten the food she has 

Recently at the home of 
one of the girls we enjoyed 
a spaghetti dinner which was 
cooked and served by mem- 
bers of the gang. The food 
was excellent, the diners at 
their gayest, and my only re- 
gret was that the conversa- 
tion which flashed above 
that merry board could not 
have been recorded in short- 

"How much garlic did you 
put in this spaghetti ?" asked 
Ramon of the chief cook. 

"About twelve heads," said 

"You use more than that 
when you make it at my 
place," remarked Ramon. 
Continued on page 106 


Tkat Mystic 
Urge to Act 

Almost every one feels it, either 
as a call to the stage, or as a wor- 
shiper of a player, according to 
Lenore Ulric, who gives Picture 
Play readers a rather surprising 
explanation of the dramatic in- 

B$ William H. McKegg 


FTER spending four hours, in- 

stead of the expected one with 
Lenore Ulric, I wanted to rush 
down the hallway shouting "Eureka!" 
That's just how I felt. For I had 
asked and asked, again and again, hut 
never could any of the players give me 
a deep enough explanation to the ques- 
tion I put before them. 

For a long time I had sought an an- 
swer to "Why do people want to act ?" 

During the course of the interview, 
I asked this question of Miss Ulric. 
Without hesitation she jumped into 
the topic and fetched to light all her 
conclusions on the subject. 

That's why I wanted to shout 
"Eureka !" when I left her. I almost 
told the elevator boy all about it, and 
felt sure the doorman would like to know. But I calmed 
down until I got home, and decided to tell it to Picture 
Play. Everybody who wants to act will understand 
now, thanks to Lenore, why they have that urge. 

You see I went to visit Miss Ulric to obtain, as I 
thought, just another interview. Her 
apartment on Wilshire Boulevard was 
full of light and fresh air. 

Miss Ulric entered, wearing a simple 
white dress and ankle socks. Her 
large, brown eyes glitter intensely, as 
if the light within came from tremen- 
dous depths. Her black hair, with a 
coppery glint, is bobbed and thick, mak- 
ing her face seem small, almost childish. 

As I said, I intended hearing from 
her the usual comments ; but as soon as 
I discovered that here was one player 
who had given more than 
superficial thought to her 
art, I figuratively threw 
the prosaic interview out 
of the window. 

"Why do people want to 
act ?" Lenore echoed in her 
huskv voice. "I'll answer 
by first explaining why 
people want to see acting. 

The Ulric personality was 
caught so well in "Frozen 
Justice" that she was given 
a contract for two pictures 
a year. 

Photo by Autivy 

Miss Ulric believes that in acting she is giving expression to memories of a 

former existence. 

"Every human 
self — from drab 


, wants to get away from him-' 
surroundings and routine. We all 
seek some unknown goal, which none 
of us can explain. All the strange. 
whispering dreams in the depths 
our being are overshadowed. That is 
why people attend the theater. Actors 
create illusions for them. An audience 
feels uplifted after seeing a good play, 
or a picture. You will hear many say. 
'1 felt quite taken out of myself." 

"The church has the same effect on 
people in taking them out of them- 
selves. A church ceremony, with its 
throbbing chords from the organ, in- 
tonations, incense, and sermon, causes 
a congregation to feel 'carried away.' 
Religious beauty draws their minds 
from troubles and worries. 

"Up to that point I think the 
church and the stage are closely al- 
lied. People patronize both places 
for the inner comfort they derive. 
Tn ancient days the temples US* 
stage spectacles for the public. The 
idea which prompted them was the 
hope that people would be carried 
away, or taken out of themselvi 
"A priest will sway his congregation, just 
an actor will his audience. Each works 
for the same resull —to make peopli 
their surroundings and be swept away by his 


That Mystic Urge to Act 

"Everything we do is the result of groping for 
strange, unknown goals." — Lenore Ulric. 

When Lenore Ulric talks she is almost swept 
away by herself. It is not affectation, either, but 
the surging, dynamic quality of that sweeping 
force within her which urges her on. If she si- 
lences herself while talking, to find the right word, 
her hands rotate in small circles. Then, finding 
the word, on she goes again at a terrific rate. 

"Everything we do — the great deeds, the mis- 
takes, even the badness — is the result of trying to 
realize our dreams, of groping for that strange, un- 
known goal, of giving way to that force nature has 
placed inside us, which urges us on to work for 
our innermost desire. 

"In the first place, there is at least one grain of 
beauty and goodness in everything and everybody. 
I can feel compassion for those termed bad by 
others. A drunkard may have made himself one 
while seeking after that unknown goal. While in a 
torpor he believes himself in another world. Like 
the opium smoker, he is carried away. It gives 
him temporary relief, though in using such dan- 
gerous methods he ruins himself. 

"The stage and pictures are safe mediums by 
which people gain relief from boring routine. 
People must always worship. They have prayed to 
the sun, fire, and idols. Not that they were 
heathens, but because they used these mediums as 
symbols of that Great Unknown we call God. 

"Greeks and Romans of old worshiped various 
gods and goddesses representing different emotions 
— love, music, sport, and others. Though two thousand 
years have passed, people still have the memory of such 
worship in their inner minds. They give expression to 
such memories in adoring the stars of the stage and 


Photo oy Autre? 



excels in 




screen. They regard actors as the personifica- 
tion of various emotions — and through seeing 
those stars they see themselves and are carried 

"Day dreams are vague and useless, if not 
carried out in reality. In visiting the theater a 
man sees the daydreams and emotions which 
have often stirred him, but which he never has 
had a chance to express. The screen does the 
same thing for him. Both are mediums 
through which people can see their inner 
dreams and yearnings materialize. 

"That is why I think stage people compare 
to teachers of a religion. They reach certain 
heights and win adoration from the public, just 
as great spiritual leaders are worshiped by the 

This is correct. I nave often met young 
men who, previous to going on the stage, had 
desired to become clergymen. And opera 
singers who had begun as priests. 

"The average person thinks emotions and 
various roles, instead of acting them ; of get- 
ting them out of his system. A musician can 
get rid of these emotions through playing and 
composing, an artist through painting them on 
canvas. But not everybody has developed a 
talent, though everybody could. That is why 
so many are unhappy. 

"We all seek for that unknown goal. In- 
stinctively we know that there is some great 
source of love and happiness and peace and 
beauty. It is while striving for it that we make 
so many blunders, for desire often leads us 
into wrong channels. 

"Every individual has the urge and de- 
sire for acting within him. Every child 
acts — and nothing seems more real than the 
make-believe games of childhood. 

"Since talking pictures 
have appeared," Miss Ulric 
went on, "it is surprising 
how many things the play- 
\ ers have discovered they 

\ can do — such as singing, 
t| dancing, and playing — tal- 
\ i ents they had but never had 

\ developed." 

\ Miss Ulric is a firm be- 

liever in reincarnation. This 
she explained, as a solution 
to my question, is what 
urges people to give ex- 
pression to so many talents. 
In past lives we have done 
many things, and those tal- 
ents are still buried deep in 
our minds, waiting for re- 

"As to why people want 
— " Lenore leaned back in 
her chair. "The personalities of 
different lives we have lived in past 
ages never leave us. These per- 
sonalities remain ever in our mem- 
ory — for nothing can destroy mem- 
ory. It is memory that stirs in people. 
That is what forces many to become 
actors. They are urged to portray past 
incarnations, to take on the personali- 
ties of past lives. In acting they can 
do so . [Continued on page 109] 

to act- 

Their Black Magic 

The dark art, combined with the skill of the camera man, 
can produce some marvelous results in motion pictures. 




E 1 

m ■ 

L ""• > >2»* I A i 


IN%S ^31 


W isi? 

^»t - ;;i " ^"* , w«bK j I^ 

I. i k c Houdini, 

Lon Chancy, left, 
explains his own 
I rick in "West of 
Zanzibar." T li e 
ball vanished by 
dropping into the 
hollow of his 
right hand. 

Charles Rogers, below, who jug- 
gles hearts in "Illusion,'' reached 
into his silk hat and pulled out a 
dog, where the ordinary magician 
would have found only a rabbit. 


Eddie Quillan and his sister, 

Marie, above, are magician 
considerable parts in "Noisi 
Neighbors," and nonchalantly 
materialize all sorts of things 
right out of mere nothingnc— . 

The most mystifying trick of 
voice throwing, is performed bj 
Erich vim Stroheim, left, with 

the aid of Little Otin, in "The 
Great Gabbo," and this combina- 
tion play- a big part in the pic- 

And now come Stan Lairn I 
Oliver Hardy, below, magician- 
extraordinary, with an astound- 
ing repertoire of tricks desi) 
to outwit the keenest eye ; but, 
alas, "I faw down" is the i 
alibi ottered when every one of 
stunts is badly balled i 
" fhe I lollywood Revue." 

I i 

Renee Adoree is as innocent of artifice as a child, quick 
to anger and as quick to repent. 

A COMPLEX personality is easy to get down on 
paper. Inhibitions and nuances of temperament 
make fair sailing on any typewriter. But the keys 
balk at the unaccustomed effort to describe a child. I 
mean Renee Adoree, who embodies the simplicity, the 
directness and naive honesty of childhood. 

Her naivete is not coy ; her simplicity is not wide- 
eyed ; her directness is not premeditated. She is as inno- 
cent of artifice as a child. Born in the world of the 
theater, and an actress ever since, there are no frag- 
ments of precocity clinging to her. She is as pungently 
real as the soil. 

Born while her father's little, traveling circus paused 
briefly in Picardy, she is half Spanish and half French, 
but temperamentally she is purely Gallic. No traces of 
the languor or subtlety of the Latin are to be found in 
Renee. She is swift of movement, candid, quick to 
anger and as quick to repent. Her moods are mercurial, 
changing with the winds, but she is not what is known 
as a moody person, because she is not given to brooding. 
When she is sad, she is just that — not lugubrious. What- 
ever her humor, it is always apparent. 

A good actress on the screen, it would never occur to 
her to disguise her thoughts while away from the cam- 
era. Because, unlike many of her contemporaries, she 
is not playing herself in real life, she is being herself. 
And not being herself in the conscious, back-slapping 
manner which is the Hollywood conception of the term. 
Renee does not deliberate. She does not think. She 
lives and breathes and feels. 

Emotional rather than mental, she lives in obedience 
to impulse, to instinct. Entirely devoid of foresight, she 

Renee— As Ske Is 

An analysis of Miss Adoree's character reveals 
one of the unique personalities of Hollywood. 

By Margaret Reid 

precipitates herself into many a disaster, of which, 
sportsmanlike, she never complains. Cleverer people 
than Renee can prevent much misfortune. Shrewd- 
ness is an invaluable weapon of defense. Renee lacks 
it herself, and is at a loss to combat it in others. 
Her strongest weapon is the high courage with which 
she faces bad luck when it comes. 

Her life has been a stormy one, colorful, fabulous. 
Her fund of personal anecdote is unlimited, but she 
only reveals it casually in intimate conversation. She 
does not realize its value as a story. It is just what 
has happened to her — and things happen to everybody. 
When reporters question her, she is apologetic for lack 
of material to give them. "I was born in a circus and 
worked there till I went on the stage as a dancer, and 
then I got a job in pictures, and that's all." 

As a matter of fact, no journalistic report could pos- 
sibly encompass the drama of Renee's life. It is a 
Zola story, and cries out for his facile pen. In the 
absence of fimile, it can only be sketched lightly, for 
tear of infusing with unreality a career that has been 
far stranger than fiction. 

Renee's childhood was nomadic. Her home was the 
lumbering caravan in which Adoree pere and mere, 
with their little brood, trekked from town to town and 
country to country. All over Europe, in obscure vil- 
lages, or on the edge of great cities, they would set up 
their one small tent. As the family increased, each new 
addition was trained, almost from birth, to grace the 
sawdust ring. 

At four years of age, Renee was galloping blithely 
around the ring, standing on the bare back of a pony. 
At eight, she was a trapeze artist, a tight-rope walker, 
a toe dancer, and an expert at helping with the pitching 
of the tent, looking after the horses and selling the 
tickets. A sporadic education was acquired along the 
way — during halts in Germany, Austria, Italy, Spain, 
Russia. Glibly Renee learned her lessons in as many 
different languages as Europe boasts. 

When she was twelve, she was apprenticed to a famous 
circus in Paris. As was the custom, she was to serve 
an apprenticeship of five years, receiving, in return for 
cooking, sewing, and general assistance, her bed and 
board and instruction in the more spectacular tricks of 
the trade. The owner of the show, a Turk, was not 
exactly a paragon of gentleness. Renee's training was 
relentless — a broken shoulder sustained in a fall from a 
galloping horse was just part of the day's work. 

Because of her love for horses and her understanding 
of them, little Renee almost immediately became ring- 
master, among her other accomplishments. Standing 
in the great sawdust circle, a tiny figure with a whip 
five times her length, she directed the speed and grouping 
of eighteen galloping horses. 

Then, on a morning when the Turk was breaking in 
several new equines, Renee's apprenticeship ended ab- 
ruptly. The new animals, being novices, would not hold 
their heads in and keep their mouths shut. One horse, 
after galloping round the ring, began to pant, his tongue 
hanging out. The Turk, in a burst of temper, snatched 
a knife from his pocket and, with one cruel stroke, cut 
the horse's tongue quite off. [Continued on page 104] 


Photos by Clarence Sinclair Bull 

Renee Adoree's life has been a stormy one, colorful, fabulous, 

says Margaret Rcid, who modestly declares that no journalistic 

report could encompass the drama of Rence's life. However, in 

the story opposite, you will be startled by its high lights. 


Another picture of backstage 

hind the Make-up," not only 

but promises to throw new 

the souls of 

Hal Skelly, left, as Hap Brown, a 
mediocre performer, sees Fay Wray. 
as Marie, the girl he loves, married to 
William Powell, as Gardoni, a charla- 
tan, who dominates them both. 

Alluring Kay Francis, below, as Kitty 
Parker, comes into Gardoni' s life 
when he makes a success on the stage. 

Mr. Powell, above, as Gardoni, reaping the 

reward of ideas supplied by Hap Brown, is 

introduced by Miss Francis to Paul Lukas, 

as Count Boris. 

Down and out, Hap Brown, right, accepts a 

job as dishwasher in the restaurant where 

Marie is waitress and is only too happy to be 

near her. 


mer s 

life, appropriately called "Be- 
boasts a most interesting cast, 
and more searching light upon 
player folks. 

Jacques Vanaire, right, as Gardoni's 
valet, reminds him of an engagement, 
much to the resentment of Fay Wray, 
as Marie, who doesn't want her hus- 
band to leave her an instant. 

Hap Brown, below, urges Gardani to 

pull himself together, little dreaming 

what it will mean to himself. 

Miss Wray, above, as the little waitress h 
dazzled and partly hypnotized by protesta- 
tions of love from the now-famous Gardoni, 
and decides to marry him if he will ask her. 

The separation of Hap and Gardoni as pro- 
fessional partners distresses Marie, left, who 
asks Hap how he is going to get along 
without Gardoni. 




Almost every other star has served 

can be sure that Miss Gar bo will use 

her new film which, at this 

Greta Garbo, as Irene, at top of page, is un- 
happily married to Anders Randolf, as Gttarry. 

In the oval, below, Irene attends a tennis 
match with Lew Ayres, as Pierre. 

Ah, and here; above, is Miss Garbo, as Irene, on the witness stand, 
defended by Conrad Nagel, as Dubail, who has loved her hopelessly all 

these years. 


On Trial 

her time in courtroom drama, but you 
different means to sway the jury in 
moment, is without a name. 

Miss Garbo, at top of page, unhappy in the 
midst of luxury, reflects on how little life holds. 

In the oval, below, Irene, distraught, tells her 
maid that she is at home to no one. 

Anders Randal fv above, frenzied by the thought that Lew Ayres, as 

Pierre, is his wife's schoolboy lover, attempts to kill him while Irene 

desperately restrains the husband she hates. 



Miss Dove; above, as Rodeo 
West, makes peace among 
her brood of girl enter- 

Miss Dove, left, in a char- 
acteristic moment in the sar- 
torial life of a night-club 

Siren of the 

She's Billie Dove, as "Rodeo" West, in 
the least, colorful, if we may judge the 

Edmund Lowe, below, as Brood, Rodeo's manager, 
protector and adoring, though undeclared lover, stands 
by while she administers a rebuke to an unruly patron. 

Night Clubs 

"The Painted Angel," whose life is, to say 
truth from the scenes on this page. 

Miss Dove, below, about to prance through a bridal 

number for the edification of her guests, suddenly 

decides that she will marry Mr. Lowe, as Brood, in 

earnest, with this result. 

Rodeo West, at top of page, 
center, rehearses her girls in 
the popular cowboy number 
which always puts patrons 
of her club in good humor. 

And here, right, is a close- 
up of Miss Dove as leader 
of the frolic. 

Robert Montgomery and Joan Crawford, above 
that nothing shall separate them. 

Ernest Torrence, right, finds Bingo in Mr 


It's Great To Be 

Though it is hard on the postal clerks, as 

you will agree when you read this unusual 


B? A. L. Wooldridge 



JOIN the navy and see the world!" invites 
Uncle Sam on the billboards scattered 
about the country. 

"Join the postal service and see funny letters !" say 
the mail clerks who serve Hollywood. 

There isn't a place on earth where such odd, puzzling 
addresses are received. If it were not for the fact that 
postal employees are consistent patrons of the movies. 
and know who's who on the screen, several hundred 
pounds of letters from fans would go to the ash heap 
each year. The men who handle the mail take an interest 
in decoding the freakish things. Literally hundreds of 
"Guess-who-I-mean" com- 
munications find their way 
to the rightful owners. 

For instance, a large en- 
velope on which was pasted 
the picture of a dog, ad- 
dressed merely "Holly- 
wood," was mailed in De- 
troit, Michigan, last Feb- 
ruary, the postmark shows. 
In the upper right-hand 
corner of the envelope was 
written a return address. 
The letter was "tied out" 
in Detroit, as the postal 
clerks say, for California. 
On its way West a railway 
mail clerk routed it to Hol- 
lywood. In the Hollywood 

post office a distributing clerk saw the picture of the dog, 
recognized it immediately, and dropped it in a pouch 
consigned to the Warner studio. Within an hour or two 
it was delivered to Lee Duncan, owner of Rin-Tin-Tin. 
The contents bore out the judgment of the mail men. 

Lon Chaney's letters frequently bear only his picture as a means 

of identification. 

A few days later a letter was mailed at Frie, Pennsyl- 
vania, on which there was nothing more than the smiling 
face of a man, and the words "God knows where." But 
the face with the smile was easily recognized, and the 
letter was promptly started toward California. It was 
delivered to Al Jolson. 

"Nobody could mistake that map!" the comedian 
chuckled, when the letter was handed to him. 

Dozens of letters arrive bearing pictures 



This letter found its way to Al Jolson, because mail clerks 
know their movies. 

A cut-out picture and "Hollywood" was all 
needed for Rin-tin-tin. 

the address 

of stars 
pasted on the envelopes, 
and with the address Hol- 
lywood, California. These 
of course are quickly dis- 
tributed by the Hollywood 
mail clerks. But just 
the address "God knows 
where" doesn't tell much. 
Xot a week goes by 
without letters arriving 
for "The It Girl," or, in 
some cases, simply ad- 
dressed to "It, Holly- 
wood, California." These 
promptly go to the Para- 
mount studio for Clara 
Bow. Letters addressed 
to "Mr. Bcn-Hur" are 
dispatched to Culver City, 
and delivered to Ramon Xovarro. Likewise communi- 
cations for "The Man of a Thousand Faces" become the 
property of Lon Chaney. Often letters intended for 
this actor bear only his picture clipped from a news- 
paper. Even though they show him in one of his char- 
acterizations, the identity of the addressee is unmis- 

Joan Crawford has a nice little "I thank you!" wait- 
ing for the postal clerk who dispatched to her a com- 
munication addressed merely "The best dancer in Hol- 
lywood." I le probably had seen Joan, in "Our Dancing 

William Boyd receives 
Cop," because he starred 

Corinne Griffith is now receiving communication 
dressed to "The Divine Lady," and David Lei 
many directed solely to Sonny Boy. Davev isn't old 
enough yet to read his mail, but he helps open some of 
the envelopes as his mother peruses them. I v 
his home the other evening, during one of the fan-mail 
hours, and Davev was assiduously applying himself to 
his task. He slit a little, pink envelope and took out a 
letter on which was pasted a picture of a rabbit. 
"Read it!" I suggested. "What does it say?" 
The little Sonny Hoy. holding the letter upside down, 
Continued on page 116 

letters addressed to "The 

in a picture of that name. 


Ladies of 

They're creatures of beauty and gorgeousness, bringing 

up bitter rivalry among 

,-— ■ *"*" 





Jean Douglas, above, in "The 

Dance of Life," wears a striking 

creation of plumes and pearls. 



^•CiRr ,p~ 

Irma Harris, above, in "The Hollywood Revue of 1929," 

carries her own pearly background with her. 

Dorothy Rcvier, below, one of the principals in "The 

Dance of Life." 


,y i 



Prudence Sutton, 
above, in "The 
Dance of Life," 
displays a gorgeous 
Spanish costume. 

Ray Murray, left, 
in the all-color se- 
quence of the same 
film, portrays a co- 
lonial coquette. 


the E 



to the movies the glamour of the "Follies" and stirring 
the costume designers. 

Outlined in pearls are the headdresses of Ivy Janis 

and Alma Davcy, above, in "The Hollywood Revue 

of 1929." 

Thclma McKcal, be- 
low, in the same film 
symbolizes India, her 
body painted with 
glistening gold 

Betty Rossmorc, 
above, in "The 
Shopworn Ansel." > , 

Lita Chcvret, left, 
exhibits a head- 
dress inspired by 
Tibet or China- 
it doesn't matter 


Wkat Are the Talkies Saving? 

c MZ/.&? 

The chattering screen, on which the hero lisps and the heroine booms, is patiently tolerated by 
spellbound fans who manage to see light ahead through a fog of home-made accents. 

By Grace Kingsle^ 

Illustrated by Lui Trugo 

TALKING pictures will be good when they really 
say something, won't they? Now they're like 
the trained elephant that can blow, a horn — it isn't 
that he blows a horn well, but the wonder is that an 
elephant can blow a horn at all. 

So we hold our breath when John Gilbert says to 
Ralph Forbes, "How are you, old chap?" And Ralph 
answers, "Fine, old top, how's yourself?" 

But they're coming on, they're coming on. We'll soon 
have our Maughams of the movies, our Shaws of the 
shivering photographs. 

In the meantime, all our film idols are hollering down 
the rain barrel. And how ! 

Oh, the big, strong hero who lisps! And the little, 
delicate heroine, who booms ! 

"Oh, thweatheart, I thall thave you !" he cries when 
her house is on fire. And she booms back, "I await you, 
my hero !" 

There is one remarkable thing I've noticed about talk- 
ing pictures. Nobody in a talkie ever seems to be able 
to move and to speak at the same time. Characters in 
a talkie are like the Mississippi steamboat Abraham 
Lincoln talked about, which couldn't both whistle and 
go ahead at the same time. 

So when the villain pursues the girl, she can't let out 
a single yell until she has romped across the room. 
And if there's a fire! Well, no matter how scared the 
poor girl is, she can't scream until she gets a chance to 
stand still near a window. 

Why, even if a man's coat tails are on fire, he can't 
yelp till he finds a microphone ! 

And then how the talkies do dash from one sort 
of scene to another! Why, it's perfectly bewildering. 

In the very midst of a 

hectic love scene, for in- 
stance, as you are holding 
your breath waiting for 
Mary to give John his an- 
swer, lo, you are whisked 
right off to watch Tom 
kill Harry. 

Aren't our lives hectic 
enough these days, with- 
out having our nerves 
wracked by a sudden shift 
like this? "Dearest, I've 
braved perils in strange 
lands ; but now I have 
won a fortune. Will you 
marry me, darling?" 

"Ah, I don't know, John, 
whether I love you well 
enough " 

Imagine what talkies would have done for the old-time 
film dramas. 

Wham! Zozvie! 

"You blankety-blank so-and-so, I'm going to kill you 
with my bare hands !" 

And then straight to a comedy scene, where you're 
expected to laugh ! 

But it could have been worse. Supposing, my dears, 
we had had talkies in the old days ! 

We can't be too thankful, indeed, that the talkies didn't 
come in during the war-picture era. What would have 
become of us if we had had to listen to all those battle 
scenes ? 

But perhaps what we have most to be thankful for is, 
that historical subjects are out just now. Wouldn't it 
have been just too dreadful if we had had to hear our 
heroes like Washington and Napoleon lisping ? 

Imagine Julius Caesar saying, "I came, I thaw, I con- 
quered !" 

Could we ever have felt the same again toward our 
own Lincoln if we had heard him say, in a picture, "Four 
thcore and theven yearth ago our fatherth brought forth 
on thith continent a new nathion " 

Then, too, how they would have ruined some of our 
old favorites for us, if they had put talk into them. 
Imagine "Broken Blossoms," for instance. Wouldn't it 
have been just too awful if we had had to listen to 
Richard Barthelmess lisp pidgin-English to Lillian Gish? 
And what delicate memory could we have carried away 
of the ethereal Lillian, on the other hand, if her voice 
had resounded apparently from a deep cellar? 

All the wallop, too, would have been taken out of the 
chase scene, and it would have been hard to be sorry for 
Lillian, if the brutish Donald Crisp had cornered her in 
the closet and then lisped at her as he swung his big fist, 

thever your thilly 

head! I'll thend your 
thoul to Thaten !" 

Methinks the dainty Lil- 
lian wouldn't have had to 
poke up the corners of her 
mouth to get a laugh out 
of that ! 

What kick, I ask you, 
could you have got out of 
"What Price Glory?" if, 
instead of reading the lips 
of the captain bawling out 
his first lieutenant, you 
had heard him lisp that 
naughty name he called 
him ? Or in "Way Down 
East," to have heard the 
hero say, "Watch out for 
the ithe"? 

What Are the Talkies Saving? 


Think of the yelping there would have been in the 
old serials ! "The Perils of Pauline" would have been 
just twice ae bad, if you had had to listen to them as 
well as to look at them. 

And the baby shows, which used to form so large a 
part of our news reels — fancy having had to listen to 
that bunch ! 

That children should be seen and not heard never ap- 
plied more aptly than to their appearance in pictures. 
D. W. Griffith used to say that the charm about children 
in pictures was that you didn't have to listen to their 
little, piping voices. 

But alas, all that is changed now. Talking pictures 
are a free-for-all. Why, they even let baseball players 
talk now. And as a silver-tongued orator, a baseball 
player is usually just a good baseball player. 

But at that, the talkies are taking the tang out of the 
silent pictures. When you see a huge locomotive sneak- 
ing into a scene without making a sound, you want to 
scream ! And how uncanny to behold a lion opening 
his mouth to roar, with no more sound coming out of 
it than out of a democrat at a republican rally. 

What a lot of fun we'd have, though, if some of those 
old, silent pictures were suddenly to become vocal. 
There'd be men faking playing the violin ; girls singing 
off key when they were supposed to be prima donnas ; 
men talking pig Latin for French ; and, in the outdoor 
scenes, wind machines rattling in the midst of desert 

But in these hot-and-hot days of the talking pictures, 
what funny things happen, to be sure ! 

For instance, there are the animal acts. The animal's 
owner has been telling him what to do, in days gone by. 
Now the poor animal has got to learn the sign language ! 

When you saw the dog leap at the villain's throat, for 
instance, his master was calling out to him all the time, 
"Get him, Tige !" even if it did look as though the dog 
was thinking of it himself. 

And when you saw Rin-Tin-Tin holding his head on 
one side, in that cute, intelligent way of his, and evidently 
thinking up some way to save the heroine in the burning- 
building, he wasn't doing that at all. Somebody was 
holding out a dead cat for him to look at, and was hol- 
lering at him, while probably the director was swearing 
a blue streak off stage. 

You didn't really think that Tom Mix's horse, Tony, 
thought up all those smart things to do himself, did you? 
No. Tom was close by, guiding him in all his ways. 

But now the voices "pick up" in the microphone. 

And speaking of voices, what a lot of home-made dia- 
lects and accents we have to listen to ! 

Take Warner Baxter, in "In Old Ari- 
zona," for instance. Of course Warner 
is so fascinating that he could talk Hot- 
tentot and nobody would have cared, but 
the fact remains that Warner, as the 
Spanish Cisco Kid, speaks a very good 
brand of dago dialect. 

The four-legged 
Thespians are all 
at sea learning the 
studio sign lan- 

Because the mike, you know, does love the deep voice, 
but spurns the high one. 

Why, the Other day, Little Billcc, the dwarf actor, was 
playing a scene with a big, burly actor, and Little Billee 
stole the scene, because his voice registered deeper than 
the big boy's. 

Even the actresses' voices sometimes register heavily. 
Polly Moran says that she lias to go .around with a muf- 
fler on her voice, it picks up so loudly, and they say 
that the first time Clara Bow let out a whoop in a talking 
picture, it blew out the fuses ! 

Nobody ever really knows how his own voice sounds, 
until he hears it in a play-back. 

"When 1 first heard my play-back," said Polly, the 
other day, "1 thought I'd have to sue the doctor who 
took out my tonsils ! 

"But there's one thing about a microphone," Polly 
went on, "you can talk to it all day, and it won't talk 

Marie Dressier says that for the comedienne the 
talkies are awful. 

"The director yells 'Quiet ! Don't laugh ! Don't any- 
body make a sound ! Still, now !' And then in the midst 
of the deadly silence that ensues, 'Come on, .Miss Dres- 
sier, come on and be funny!' 

The hero's coat tails 
may be on fire, but he 
must find the mike be- 
fore yelling. 

Probably he picked this 
up in all the years that 
he spent with Leo Car- 
rillo on the stage in 
"Lombardi, Ltd." 

And how everybody 
m Hollywood nowadays 
is speaking from away 
down in his chest ! All 
the tenors are going out 
and having their tonsils 
lifted, so they 
can talk bari- 

Then in the quiet of the 
death chamber, as it were, 
the poor comedienne has to 
come on and be comical !" 

Miss Dressier sighed. 
then continued. "In the old 
days of the silent pictures, 
how we used to kid around ! 
How the orchestras used to 
play while we were getting 
the sets ready! How even 
the grips and electricians 
would wise-crack !" 
Why, I don't know how Charlie Chap- 
lin and Doug Fairbanks work now. They 
used to kid until they got into the mood for 
a funny scene, and then do it. 

But what a lot of baby-faced heroines lost 
their worshipers when they opened their mouths! 
And how embarrassing it must be to some of our 
handsome heroes when, having heard them sing in 
the movies, somebody at a party requests them to 

Then there's the play-hack room. What a lot is 
heard there that never was intended to be. 

One of our sweetest heroines was romantically lisping out 
her love for the hero, the other day in the play-back room, 
when suddenly, at the close of the scene, came the words, 
"Who the devil got away with my cigarette ':" [Cont'd on pas:- 116] 


Clara Bow, right, assisted Lyman Scott 

when he opened a stand and, needless to 

say, the new venture started off with a 


Marceline Day, above, as a 
farmerette, is serving the 
baby chicks their midday 
lunch, and can't resist fon- 
dling them. 

Mary Brian, below, nails 

a crate of oranges for the 

Valencia, California, show, 

in which she took part. 


The stars are always ready to do 
stunts to help a worthy cause. 

Automatically filled and sealed, the 
milk in these bottles has the ap- 
proval of Dorothy Sebastian, left. 

Jean Arthur, below, was the official 

starter in a pigeon race, a happy 

arrangement for all concerned. 


The? Watck 
Their Step 

The young couples in Hollywood face 

almost the same money problems that 

confront newlyweds everywhere. 

By Ann Sylvester 

A LOS ANGELES newspaper re- 
cently published the story of a young 
couple in court seeking a divorce, 
after only six months of marriage. 

"I'm tired of economizing and pinching 
and doing without things," was the plaint 
of the flapper bride. Whereupon her young 
husband leaped to his feet. "I make as 
much money as any young fellow of my 
age, your honor," he thundered, "but she 
got her ideas of living from the movie 
people around here, and I can't keep up 
with that stuff." 

Funny, isn't it? Funny, and a little sad, 
and a little silly. It is particularly funny, 
if you know what I know about some of 
the young married couples of the movies, 
who are economizing and saving, just like 
the bride who was tired of marriage be- 
cause she couldn't live as she thought they 
did. I wonder how she'd feel if she knew 
that they are living much as she does. 

She wouldn't believe it, of course. Why, 
movie actors make hundreds and thousands and even mil- 
lions of dollars ! They have mansions in Beverly Hills, 
and yachts at the Yacht Club, and servants in their 
kitchens, and motors in their garages. They don't have 
to stint themselves a thing. At least that is the common 
belief of a lot of Marys and Dots and Louises, who are 

Jobyna Ralston and Richard Arlen started wisely in money matters 
from the time of their engagement. 

married to Toms and Dicks and Harrys. In a way, 

they're right. 

Hollywood has its wealthy and prosperous married 

couples. There are the Schencks. and the Fairbankses, 

and the John McCormicks. But even in Hollywood. 

they are the exceptions rather than the rule. Young 

love, lor the most part, has 
just as much difficulty in 
making both ends meet on a 
movie salary, as it does on 
a bookkeeper's. Compara- 
tively speaking, they have to 
stretch their money just as 
far. There are so many 
demands made on their 
earnings that don't apply to 
couples out of pictures. For 
instance, press agents, pho- 
tographs, charities, and rel- 
atives. Not that other 
couples don't have relative-, 
but actors seem to have 

Take George Lewis and 
his bride of a few months. 
rge has been under con- 
tract to Lnivcrsal for sev- 

Priscilla Bonner Woolfan 

waited four years for her 

husband to save money for 

the home of their dreams. 


Tkey Watch Tkeir Step 

Photo by Brown 

George Lewis and his bride, Mary Lou Lohman, did some careful 
planning before deciding they could afford marriage. 

eral years, and he has been making a nice salary, up in 
the hundreds every week, but George had to wait nearly 
a year to wed, because he couldn't afford it sooner. 

"I was pretty lucky in having a 
girl who would wait a year for 
me," smiled George. "When I first 
met Mary Lou it was taking every 
cent I earned to keep up the pay- 
ments on a little house, and support 
my mother and three brothers who 
are still going to school. I didn't 
see how I was able to think of mar- 
riage, even after I met the girl I 
loved. It didn't seem fair to ask 
Mary Lou to live in a hall room 
with me, and that is about all I 
could have afforded on my salary, 
after other expenses had been de- 

"Luckily, I got an increase in sal- 
ary when my option was taken up, 
and by careful planning we figured 
we could afford marriage. But we 
have to watch the dollar pretty 
closely. We try to keep our bills 
down by not buying heavily in one 
month. That is, if we get a new 
piece of furniture for the house, we 
go without some luxury to make up 
for it. Every time we go to a May- 
fair party, it is because we have 
made up our minds to let the cur- 
tains for the guest room go until the 
next month." 

"Bert and I work pretty much on the 
same plan," explained pretty Priscilla Bonner 
Woolfan, one of our latest brides. "Do you 
know what Bert calls our new house? 'Mort- 
gage Manor' is his name for it, and he invites 
people up to see our equity. 

"This house has been a dream of ours ever 
since we became engaged four years ago. We 
decided that we wouldn't marry until we could 
really make a home. It took Bert four years 
to get started as a doctor and save enough to 
give me this sweet place." I wonder how 
many modern youths could test their love that 
far. Four years is a long time to wait. 

"While we were engaged," continued the 
blond and dainty Priscilla, "we didn't try to 
splurge and get around to all the expensive 
night clubs and picture premieres. That grow- 
ing bank account looked pretty good to us. If 
people are really in love as we are, they don't 
mind missing a few luxuries. Bert and I 
would rather go to a picture together, than to 
the Mayfair without each other. 

"A couple of months before we were mar- 
ried we started this house on what Bert had 
saved. Of course, even now, it isn't completely 
furnished the way we want it. Gee, it costs 
money to get a house together," she laughed. 
"If my mother hadn't made us some perfectly 
gorgeous curtains for our living room and the 
bedrooms, I'm sure we would have been saving 
for them yet. But," she added, proudly, "ev- 
erything we've got is good. We don't want to 
put on a show by furnishing our place with 
gaudy, cheap stuff. We'd rather take it piece 
by piece, as we earn it. 

"Our guest room is going to be perfectly 

adorable, and it won't cost hardly anything. 

Bert's very clever at designing, and the carpenter who 

worked on the house made us a bed for just the cost of 

the wood. We shall paint it ourselves. If people really 

know how to manage, they 
can get such effective things 
for so little money. But the 
trouble with most people is 
that they zvant to spend a lot. 
Especially the people in Hol- 
lywood seem to like to be 
overcharged for everything, 
or they don't think they are 
getting their money's worth." 
Duane Thompson is a great 
friend of Priscilla's, and she 
thinks they were wonderfully 
wise to wait until they were 
on their feet before they at- 
tempted matrimony. "But 
Buddy and I will try to get 
over the rough spots to- 
gether," she explained. It 
was just a week before her 
marriage to Buddy Wattles, 
and Duane and I had met at 
one of the numerous pre- 
nuptial showers which were 
being given for her. 

"We are faced with the 
same financial problem that 
meets almost every young 
couple," the sweet-faced in- 
genue explained, "and that 
Continued on page 116 

It makes no difference who has the money, 
Ruth Roland said in announcing her engage- 
ment to Ben Bard. 






CECIL B. DeMILLE, director of a hundred hits, has 
made in Dynamite what will be considered his 
greatest screen achievement. A thrilling drama which 
explodes the hypocrisy of the modern Babel called 
Society. Dynamite digs through the outer veneer of 
sham, pretense and glitter— and gets down to the 
bed-rock of human emotions. Charles Bickford, Con- 
rad Nagel and Kay Johnson give the best performance 
of their careers. All-talking. Also silent version. 

WHAT a cast! More stars than there are in heaven! 
A glittering, gorgeous, spectacular revue — the 
kind you would pay $6.60 for on Broadway. Marion 
Davies, John Gilbert, Norma Shearer, William Haines, 
Joan Crawford, Buster Keaton, Bessie Love, Charles 
King, Conrad Nagel, Marie Dressier, Jack Benny, Gus 
Edwards, Karl Dane, George K. Arthur, Stan Laurel, 
Oliver Hardy, Cliff Edwards (Ukulele Ike,) Anita Page, 
Polly Moran, Gwen Lee, Brox Sisters, Albertina Rasch 
Ballad, Natacha Nattova &. Co., The Rounders, and a 
chorus of 200. A remarkable all-singing, all-talking, 
all-dancing picture. The hit picture with the song hitsl 

HERE is the picture that Broadway went wild about 
— Hallelujah, the greatest drama of its kind ever 
produced. Directed by KING V1DOR, who made 
The Big Parade — this stirring drama of the Southland 
immortalizes the soul of the colored race. Daniel 
Haynes, noted Negro singer, and Nina Mae McKinney, 
a beauty discovered in the night clubs of Harlem, lead 
an all-Negro cast in this remarkable production. One of 
the classics of the screen that will never die. Don't miss it! 
Hear Irving Berlin's "Waiting at the End of the Road.' 

"The Only Gesture You 
Can Make Is To Marry!" 

Janet sighed without answering. She 
gazed up into the eyes of her artist 
lover. One man had offered her wealth, 
another fame, and a third social position. 
But in each case the offer carried a con- 
dition which made it impossible for her 
to accept it. 

And this Leonard Quigg, with his 
erratic, artistic temperament, was just 
the type of man she had vowed she 
would never marry! Yet she cared for 
him probably more than any of the 

She hesitated and then 

The next thing she knew Leonard 
was kissing her, kissing her throat and 
her closed eyes, and the crimson bowl that was her mouth. 

"I love you, Janet," he was saying. 
you are, how sweet — — " 

"I love you. You don't know how sweet 

The love game was too 

But even after this, Janet wavered in her decision 
fascinating, the offers she continued to receive were too tempting to be put aside 
lightly for love of a musician. 

Read the absorbing account of the love affairs of this fascinating modern young 
woman in 

The Loves of Janet 


This book is one of the famous Chelsea House New Copyrights — a line of 
cloth-bound books — the equal in binding and make-up of many books selling at 
$2.00. But the price is only 

75 Cents a Volume 

Go to your bookseller now and order your copy of "THE LOVES OF JANET," 
or, if he does not have it in stock, order direct from the publishers. 

CHELSEA HOUSE, Publishers 79 Seventh Avenue, New York 


Arckes and 


Richard Dix's home in Beverly Hills is a 
fine example of the Spanish-Mexican type, 
in which the movie caballero enjoys the pic- 
turesque setting of the old order along with 
the last word in modern conceits. 

The Hying room of Richard's home carries out the 
Spanish motif, with arched doorways and grilled 
stairways, but an occasional easy-chair and deep 
divan relieves the stiff formality and gives it a 
cheerful atmosphere. 

A vista of golden hills and semitropica! 
gardening is framed by the arch over an 
entrance to the Dix casa, which suggests 
dreamy siestas as a happy escape from the 
trials of talkie making'. 

The home is long and low, quite a contrast 

to the general trend of American home 

building, and it tops a little hill. 

A Spanish chest, which cone 
radio, and Mr. Dix's favorite arm- 
chair, arc the central pieces in this 
corner of t'^e living room, which 
is warmly embellished with hang- 
ings of old Spanish design. 


Continued from page 32 

The late Charles Emmett Mack 
was a prop hoy for D. W. Griffith. 
He'd been working at that studio for 
months before the famous director, 
as if seeing him for the first time, 
suddenly realized what a poignant 
face his prop hoy had. Griffith gave 
him the second lead in "America," 
the role of the heroine's brother 
who was killed in the war. 

That poignant face was an asset ; 
Charles Mack was assigned one role 
after another. Nearly always he 
played the boy who was killed in the 
war. And then the tragic final fade- 
out of his career, when he really 
was killed in an automobile accident. 
Ironically enough, just as he had fin- 
ished a film called "The First Auto." 

Eddie Nugent is another whose 
story runs from prop boy to featured 
actor. It was Eddie's ingratiating 
personality which made stars and di- 
rectors notice him. There was al- 
ways a quip on the tip of his tongue. 
His wit and good looks made him so 

Strange Roads to Stardom 

popular that soon the general senti- 
ment around the studio could be de- 
scribed as "Give the little boy a big 
hand up." And so opportunity came 
to Eddie. 

The country is full of Eddies, with 
looks, personality, wit. But that 
lucky chance hasn't come their way. 

One sixteen-year-old Chicago boy 
decided not long ago to create his 
own lucky chance. His name was 
John Loeb, and he thought he was 
a comedian. But how was he going 
to prove that he was right ? How get 
inside the magic gates of a studio to 
show his stuff? 

He devised an ingenious scheme. 
And one day the officials at the Hal 
Roach studio were astonished when 
the American Express Company de- 
livered a long, wooden crate labeled 

"It doesn't belong here," they said, 
refusing to accept it. "We didn't 
order any statuary." 

So the driver, a little puzzled, took 

the mysterious crate to the company's 
local office to await further instruc- 
tions. To the astonishment of all 
the clerks, the crate was suddenly 
pushed open from the inside, and out 
popped a sort of replica of Charlie 
Chaplin. Big shoes, trick mustache, 
baggy trousers, grease paint. Johnny 
Loeb of Chicago, no less, would-be 
comedian, who thought he was in- 
side the Hal Roach studio, and was 
all prepared to show astonished di- 
rectors what he could do. 

The sequel to this story is that the 
police were called in ; the living statue 
had violated some statute about mis- 
representation. But the Roach stu- 
dio executives, touched by his plight, 
have agreed to give him a chance 
when the police get through with him. 

Just a screen-struck boy, attempt- 
ing a quite new road to stardom. The 
roads to stardom are many and 
strange — but that is the strangest of 

Continued from page 53 
have been reached on a revue type 
of production. "When in doubt turn 
the show into a revue" is the new- 
watchword of the producer. 

The Whiteman excursion has al- 
ready cost the Universal company a 
good $250,000, but they are into it 
so heavily they might as well spend 
a few hundred thousand more. 

They have engaged John Murray 
Anderson, of Greenwich Village 
"Follies" fame, to stage the White- 
man film. That, too, costs a pretty 

"The King of Jazz" is still the title 
of the picture. 

Oh, Aileen, Aileen! 

Alterations in the color of a star's 
hair mean little or nothing, nowadays, 
unless the changes become a regular 
habit, but when Aileen Pringle, after 
remaining a deep brunette for a life- 
time, suddenly emerges as a blonde, 
the movie world stands still. It 
would be hard enough to reconcile 
such a departure with Aileen in any 
event. Still, she has done it — has 
become a blonde with the hope of 
furthering her career. 

"My career seemed so ill-fated re- 
cently, that I decided I would have 
to do something really drastic." 
Aileen told us. "So I have gone 
Hollywood and become a blonde." 

And believe us or not, Aileen is a 
really beautiful blonde; her appear- 
ance is most unusual and striking. 

Mary Brian Bobs. 
Mary Brian is another star who 
has taken a revolutionary step as re- 

Hollywood High Lights 

gards her coiffure. She has bobbed 
her hair. She had to do it to play in 
"The Children," and it was an ordeal, 
because she had beautiful hair of the 
long variety that reached to her waist. 

Mae Glamorous Again. 

Mae Murray's return to pictures 
may be duly celebrated, and she is 
reviving one of her most popular 
starring productions — "Peacock Al- 
ley." Tiffany-Staid engaged her to 
do a talking version of this, with sup- 
porting players including George 
Barraud and Jason Robards. 

Needless to say, Mae will dance 
and wear elaborate costumes. Her 
speaking voice registers excellently, 
because of her vaudeville and pic- 
ture theater engagements. 

Gallic Stars Thrive. 

Maurice Chevalier's absence in 
Europe has made many people ask 
whether he will return. It depends 
a good deal, we believe, on the suc- 
cess of "The Love Parade." Chev- 
alier has not been a big hit every- 
where, though he won friends in 
many places with his work in the very 
poor "Innocents of Paris." 

It is curious that the French are 
exhibiting more adaptability to the 
talkies than the Germans, who so 
dominated the silent form. It is curi- 
ous, but explainable by the fact that 
the southern European has more of 
an understanding of the lighter sort 
of musical entertainment that is now 
being proffered, than the more dra- 
matic Teutons. 

Lily Damita has prospered with 

"The Cockeyed World," and just 
lately Fifi Dorsay shows signs of be- 
coming a sensation. She was so good 
in "They Had to See Paris," star- 
ring Will Rogers, that she was im- 
mediately slated for a big role in a 
production directed by Raoul Walsh. 
And oh, what fascinating eyes this 
little mamselle has. She sang with 
a true Anna Held manner at a lunch- 
eon given at the Fox movietone stu- 
dio, and all the boys were throwing 
their hats in the air. 

Songbirds In Favor. 

The welcome sign is out to the 
operatic singers. In the beginning 
it looked as if the films didn't care 
anything about them, feeling that 
they were too highbrow. But the 
engagements of several have been 

Jose Mojica, one of the tenors of 
the Chicago Civic Opera Company, 
is among the Fox contract players, 
and Elsa Alsen, Wagnerian soprano, 
is to take a part in "The Rogue's 
Song," with Lawrence Tibbett. She 
is a noted and beautiful singer, who 
has spent the summer concertizing 
on the Pacific Coast. 

Tito Ruffo also gave out the word 
from abroad that he expected to go 
into the talkies. And Tibbett, al- 
ready completing his first feature, 
is to film another. 

Her Joy Fateful. 

Ronald Colman has lost his 

mother. She died a few weeks ago 

in Australia. The circumstances sur- 

Continued on page 104 


King Even? Ua$ 

Seven persons named King, some of whom you 
know quite well, are active in movies to-day. 

Emmett C. King, left, added effective touches to "The 
Shopworn Angel," "Coquette," and othei recent pictures. 

Dennis King, right, a New York stage star, will appear 
in "The Vagabond King," in which he has a stagi 

Claude King, left center, lias a striking face that will re- 
call such pictures as "The Missing Man" and "The Mys- 
terious Dr. Fu-Manchu." 

The King family is represented in the 
directing fic!d by Henry, right center, fa- 
mous for his work in "Tol'ble David," 
"The White Sister," and "She Goes to 
. War." 

"Broadway Melody" drew the attention of 
the fans to Charles King, above, although 
he had long been known on the musical- 
comedy stage. 

Carlotta King, 
right, who made 
her screen de- 
but in ' ' T h e 
Desert Song," 
impressed pro- 
ducer and fan 
alike, so she 
was given a 
nice contract. 

Judy King, left, 
is now gracing 
an occasional 
Poverty Row 
picture, but was 
once under con- 
tract to a large 

94 . . Tkey 

Continued Erom page 62 J 

Ramon Novarro, who also made his 
debut in that picture. Rex Ingram 
gave out a number of interviews laud- 
ing Alal's box-office attractiveness. He 
has worked almost continuously since 
then, but despite this no fan clubs 
have been inspired in his honor. 

Possibly he has too much money 
to take his work seriously, but I think 
more likely that he has suffered from 
lack of publicity. 

Warren Burke had the lead in 
"Road House," supported by Lionel 
Barrymore, and after that F. W. 
Murnau kept him in constant associa- 
tion for a time, trying to bring out 
something inside the young actor. 
Evidently he found the task hopeless, 
for he did not cast Burke and the boy 
is playing bits again. 

Matty Kemp played the leading 
juvenile role with Florence Vidor, in 
"The Magnificent Flirt." Off the 
screen Matty is a husky, good-looking- 
young animal, but the camera picks up 
an ethereal quality in his features not 
apparent when you meet him face to 
face, and gives him a suggestion of 
prettiness he doesn't possess in real 
life. There was talk of releasing him 
from the picture, because he was bet- 
ter looking than the girl playing op- 
posite him, but he was eventually al- 
lowed to finish his work. 

The foregoing is apt to give the 

Got Wkat The? Wanted, But- 

imprcssion that Matty is pretty in a 
feminine way. This is not so. He is 
rugged, handsome, and masculine in 
every sense of the word. He simply 
photographs unfortunately. In addi- 
tion to the Vidor pictures, he played 
the lead opposite Sally Eilers, in 
Mack Sennett's "The Good-by Kiss." 

While Sally manages to keep her- 
self balanced on the fence, Matty 
tumbled off on the wrong side and 
has not worked since. A few years 
from now, when he is a little older 
and his face shows more character, I 
think there will be a distinct place 
for him on the screen. 

Sally Phipps got a contract from 
Fox and featured leads in a number 
of pictures, among them "Cradle 
Snatchers," "The High-school Hero," 
and "The News Parade," all with 
Nick Stuart, and "None But the 
Brave," opposite Charles Morton. 
She is one of the few real beauties in 
Hollywood, but when her contract 
expired the option was not taken up. 

I could learn no reason for this at 
the studio, executives explaining that 
in cases of this sort they prefer to let 
the player make his or her own an- 
nouncement to save them embarrass- 
ment. Friends of Sally volunteered 
the information that she cannot take 
direction, seeming absolutely unable 
to grasp what the director wants. 

Compare her position to-day with 
that of Nick Stuart and Charles Mor- 
ton, and you are bound to realize that 
it takes more than a break to make a 

Nancy Drexel's position at present 
is similar to that of Sally Eilers — she 
is on the fence. She had a contract 
with Fox, played the lead in "Prep 
and Pep," with David Rollins and 
Frank Albertson, and was featured 
in "The Four Devils." She is a 
charming girl, with an appeal quite 
similar to that of Janet Gaynor, al- 
though possibly without Janet's depth 
of feeling, but her contract was not 
renewed. Why ? 

There are also the cases of Prince 
Youcca Troubetzkoy, who played op- 
posite Pola Negri, in "Flower of the 
Night" ; Roland Drew, who appeared 
with Dolores del Rio, in "Ramona" 
and "Evangeline," and of whom 
nothing has been heard since ; Shirley 
O'Hara, who played opposite Adolphe 
Menjou, in "A Gentleman of Paris," 
opposite Ramon Novarro, in "For- 
bidden Hours," and then dropped 
from sight, eventually returning to 
her home in Texas. 

All of which only goes to prove 
that a break does not make a star, 
nor is a star necessarily made by a 

Continued from page 12 
The Screen's Gift to Life. 

"What the Fans Think" in September 
Picture Play contained a lot of brick- 
bats for Buddy Rogers from persons who 
consider him a ham and a sort of collar 
ad. I may as well say right now that he 
is my ideal, my supreme favorite, and it 
makes me boil to read such unjust things 
about him. Really, I can't understand 
how any one can 'help but simply adore 
him, with his clean-cut, good looks, his 
unassuming manner, his nice, unaffected 
smile, and his vital, boyish eagerness. 

There isn't another star on the screen 
who can portray clean, happy, carefree 
youth as he can. He always gives a fine, 
sincere performance, and his pictures, 
though mostly all simple little affairs, are 
always enjoyable. They lift one out of 
humdrum, everyday life into a land of 
happiness and youthful romance. 

I always thought people went to the 
movies to see happy pictures like this — 
to be rested and cheered. But it seems 
to be just the opposite. People, most of 
them, want to cry, to see tragedy and sad- 
ness. There isn't enough of it in real 

As for his voice, "E. V. W.," it is one 
of the most perfect I have heard so far. 
I'm not alone in this opinion, either. He 
is easily understood. Was it necessary 
for you to include in your letter that cut- 
ting bit from the Baltimore Sun ' You 
must remember that "Varsity" was one of 
the first talking pictures, and wasn't there 
something odd and crude about most of 
the first talkies? Evelyn Rossmann. 

577 Twenty-fifth Avenue, 
Milwaukee, Wisconsin. 

What tke Fans Think 

Outpourings for Vilma. 

Pittsburgh has been fortunate enough 
to have seen Lupe Velez, Bobby Agnew, 
the Duncan Sisters, Sammy Cohen, Do- 
lores del Rio, and Vilma Banky. I saw 
them all but Dolores. Lupe was peppery, 
vibrant, and nice. Bobby Agnew was 
adorable — Pittsburgh loved him. The 
Duncan Sisters were nice and friendly. 
Sammy Cohen was so funny that the peo- 
ple nearly died laughing. Every one was 
saying Dolores was really sweet. But the 
best of all was Vilma Banky. She is a 
thousand times more beautiful on the stage 
than on the screen. We saw her on the 
stage twice, then went round to the stage 
door and she came out ! I had my head 
in the back of the car, and she was sit- 
ting right there. She was immaculate. 
Her hair is the most beautiful I ever saw, 
and her skin smooth and white. I could 
have easily touched her, but I was afraid 
I would break her apart. Pittsburgh was 
wild about her. She looked at me once 
when I couldn't control myself and said, 
"Isn't she gorgeous !" She smiled sweetly 
and winked. 

The two stars I still wait for are Nils 
Asther and Joan Crawford. Nils is, in 
my opinion, the most handsome and prom- 
ising young man on the screen. Accent 
or no accent, I'd like to hear him speak. 
Vilma Banky has an accent, and sfae has 
appeared in a dialogue picture, so why 
can't Nils? 

Joan portrays a modern girl — not the 
type we are, but a type we admire. 

Rosemary Wurdack. 

202 Bonvue Street, 

Pittsburgh, Pennsylvania. 

Has Clive Brook Changed? 

What in the world has happened to 
Clive Brook since the advent of talking 
pictures? Why must this splendid actor, 
whom we all liked so well in silent pic- 
tures, act like a simpering fool in the talk- 
ies? Recently I saw Mr. Brook in 
"Charming Sinners," and I could hardly 
believe that it was the same Clive Brook 
of the old, silent pictures who was jump- 
ing so kittenishly and grimacing so awk- 
wardly every time he talked. And the 
way he played up to the audience was 
atrocious. Is it that the praises heaped 
upon Mr. Brook about his "faultless Eng- 
lish accent" have turned his head so that 
now, whenever he appears on the screen, 
he has that air which seems to say, "Learn 
of me, you dumb Americans; I'm the only 
one on the screen who can speak correct 
English"? I've noticed the same change 
in Ronald Colman's acting in the speak- 
ing pictures — that superior attitude which 
makes him look more like a professor 
lecturing on the use of perfect English 
than an actor creating a role. 

And please allow me to ask two ques- 
tions, one of the producers and one of 
the fans, which have puzzled me for a 
long time. 

To the producers : Why have you been 
so blind as to overlook Dorothy Gish for 
talking pictures? She has had stage ex- 
perience; she was a hit on Broadway last 
season in "Young Love," and, as for the 
screen, with the exception of Louise Fa- 
zenda, there has never been a more de- 
lightful comedienne than Dorothy. Be- 
Continued on page 98 


So Near, Yet So Far 

But any Romeo worthy of a lady's favor should be willing to 
scale a wall for a kiss. 

J. Harold Murray and Lelia Kar- 

nclly, below, in a scene from 

".Married in Hollywood." 


Norma Shearer and John Gil- 
bert, above, are pleasing as 
Romeo and Juliet, in "The 
Hollywood Rcvuc." 

Love in picturesque 
settings draws Lea- 
trice Joy, left, and 
Nils Asther together 
in "The Blue Dan- 
ube," and a wall is 
no obstacle to the 
dashing gallant. 

"Lisa, I love you," 
whispers John Gil- 
bert, right, as Fedya, 
in "Redemption," to 
Eleanor Boardman, 
whose charms can- 
not be imprisoned 
behind a high wall 
when her lover ap- 

A balcony scene a la Ameri- 
can, in which Hal Skelly and 
Fay Wray, above, exchange 
sweet nothings and banter in 
"Behind the Make-up," while 
the lady wonders whether to 
rim up the steps or to en- 
courage her boy friend by re- 


Continued from page 67 
The action shifts to Nicaragua, 
where Panama, on discovering that 
liliuor loves Lefty and not himself, 
refuses to go to the rescue of his 
rival s doomed plane, though he is 
one of the greatest flyers. Of course 
lie relents in the nick of time, spec- 
tacular airplane flights follow, and he 
conquers his jealousy in acknowledg- 
ing the love of Lefty and Elinor. 

The picture is ambitious in its 
scope and much of it is impressive, 
hut the two men, though theatrically 
effective, are not exactly calculated to 
qualify as one's favorite realists. 

Life As It Isn't. 

All the king's horses and all the 
king's men, meaning the Metro-Gold- 
wyn studio, haven't been able to in- 
ject into "Our Modern Maidens" in- 
gredients as strong as those which 
made "Our Dancing Daughters" a 
popular success. And, as if to delude 
themselves, they call it a sequel, with- 
out, apparently, looking up the mean- 
ing of the word in the dictionary. 
But the only relation the later film 
bears to the earlier one is the pres- 
ence of Joan Crawford and Anita 
Page in the cast and the fact that 
Miss Page again gives the outstand- 
ing performance, though it includes 
nothing so sensational as her plunge 
down a flight of stairs. However, 
the picture deals with young people 
in the throes of sex, the backgrounds 
are incredibly luxurious, there's much 
dancing and petting — all without dia- 
logue, a further handicap. 

Miss Crawford, the star, is Billie, 
daughter of B. Bickering Brown, a 
motor magnate as rich as Croesus. 
In love with Gil, she defers an- 
nouncement of their engagement un- 
til she can vamp Rod La Rocque, as 
Glenn Abbott, a very youthful diplo- 
mat, out of an emhassy post for the 
still more youthful Gil. Thus Miss 
Crawford, as a very modern maiden, 
resorts to' an expedient as ancient as 
a Sardou heroine. 

In cajoling Glenn, she receives a 
kiss which brings to the surface a 
great show of Victorian prudery and 
strengthens my distaste for this sort 
of picture, because the "Modern 
Maidens" aren't good sports. They 
flaunt their independence, hut when a 
man takes advantage of it they bridle 
and shudder like old maid school- 

Meanwhile Miss Page, as Ken- 
tucky, an ingenue, pursues Gil until 
she too is caught in what used to be 
called an indiscretion and there's a 
great lot of moping. Finally a big, 
ostentatious wedding unites Miss 
Crawford and Mr. Fairbanks, but 
Miss Page is late in appearing as 
maid of honor hecause she has been 
visiting an ohstetrician ! After the 

Tke Screen in ReViev? 

ceremony Miss Crawford decides 
nobly that she won't take Gil away 
from Kentucky, so there's a lot of 
hocus-pocus about being so modern 
a bride that she prefers to honeymoon 
alone. Suddenly she is seen in a for- 
eign setting, whence Mr. La Rocque 
comes from nowhere to offer her fur- 
ther insults — and is joyfully wel- 
comed. Just as the picture probably 
will be by thoughtless young people 
of all ages. Besides the players al- 
ready mentioned, the cast comprises 
Eddie Nugent, Josephine Dunn, and 
Albert Gran. 

There's Many a Slip. 
Curiously "Womantrap" fails in 
effectiveness, though it has much at 
the outset to insure a successful pic- 
ture. For one thing, such players as 
Evelyn Brent, Chester Morris, and 
Hal Skelly who, if you saw him in 
"The Dance of Life," must rank with 
your favorites. Yet even he is not 
altogether at his best, nor is Miss 
Brent, though Mr. Morris approaches 
his performance in "Alibi." Their 
combined efforts yield a fairly good 
story of a detective who discovers 
that the murderer he has come to 
arrest is his own brother. Good sit- 
uation though this is, it is approached 
in such a confused manner that the 
spectator doesn't quite "get" the in- 
tent of the proceedings. For a time 
mother love is dominant, then fra- 
ternal devotion is uppermost, and 
later the evils of the liquor traffic are 
denounced. Even the role played by 
Evelyn Brent, usually the most di- 
rect of actresses, is a sort of half- 
and-half mixture of heroine and vil- 
lainess. To this day I can't recall 
which was which, except that she 
was awfully cutting in some of her 
remarks. Leslie Fenton has a small 
role, as usual, and — also — as usual is 

A Smooth Farce. 
If your familiarity with the movies 
goes back eight years you will re- 
member "The Hottentot," a farce 
played by Douglas MacLean and 
Madge Bellamy. And if you are in- 
terested in still more biographical 
data, perhaps it will mean something 
to know that Willie Collier, step- 
father of Buster, originated the role 
of Sam Harrington in the stage ver- 
sion. The third incarnation of the 
piece is now on view by means of 
the audible screen, and I believe it is 
the best of all. Certainly the role of 
the timid man who hates horses and 
is forced by the girl he loves to ride 
the fiery "Hottentot," has never been 
played more adroitly than by Edward 
Everett Horton. His knowledge of 
the implications of the spoken word 
holds a lesson for younger and less 

experienced players. That is, those 
who have time between trips to 
Europe and week-ends at their beach 
houses to take heed. Nor is Patsy 
Ruth Miller far behind Mr. Horton 
as the girl who loves horses and in- 
sists that Sam is " the gentleman 
jockey of her dreams. 

The picture is tastefully produced, 
with many clever touches of direction 
and photography to drive home the 
farcical intent, and Douglas Gerrard 
is highly effective as a knowing but- 
ler, while the late Gladys Brockwell 
is sadly visible. 

A Girl Detective. 

"The Girl From Havana" is just 
one of those things, but it contrives 
to be lightly entertaining*. This is be- 
cause it doesn't take itself too seri- 
ously, though it is all about jewel 
thieves and a girl detective who finds 
herself falling in love with one of 
them. Surely you recognize the for- 
mula. However, much of the action 
takes place on shipboard during a 
voyage through the Panama Canal, 
with authentic views of Havana as 
well, and this feature of the enter- 
tainment considerably enhances the 
value of the film. 

It begins with a rather novel jewel 
robbery in a big shop, with Kenneth 
Thomson and Natalie Moorhead as 
swell crooks apparently in collusion 
with Paul Page, as a clerk. The 
three embark on the Havana-bound 
steamer, with Warren Hymer, as a 
roughneck thug who supplies comic 
relief. Masquerading as a member 
of a theatrical troupe, Lola Lane 
joins the passengers for the purpose 
of gaining the confidence of the 
thieves. Of course she succeeds, for 
apparently there never exists on the 
screen a crook minus a strain of stu- 
pidity. Suddenly it develops that 
Paul Page isn't a confederate at all, 
but a noble youth bent on avenging 
the murder of his father. Talk about 
dramatic construction ! However, as 
most people don't give a hoot about 
the niceties of plotting just so long 
as movies open an avenue of escape 
from realities, who am I to say that 
"The Girl From Havana" doesn't 
fulfill its mission ? But why the harsh, 
unpleasant voices I cannot say. But 
perhaps that doesn't matter, either. 

Get the Hook. 

Amateur talent has its fling in 
"Why Leave Home?" a new version 
of "Cradle Snatchers," with dialogue 
and music. The result is innocuous 
comedy from which the rowdy humor 
of the original has been extracted. 
Who can tell why? As the piece now 
stands, it is a feeble story of three 
college boys hired by as many middle- 
Continued on page 98 


Old-block Chips 

The like-father-like-son saying applies to this 
group of Hollywoodites. 

Taylor Holmes, below, musical-comedy star, recently visited his 
son, Phillips R., who has picked the movies for his acting career. 

Rudolph Schildkraut, above, and Joseph are the best of 

J. C. Nugent, below, dean of the theatrical family of 

that name, learns some movie tricks from his son, Elliott. 

Pat Rooney, left, 
and Pat III could 
almost pass for a 
twin-brother team, 
they are so nearly 
alike in size and 

James Gleason, 
left, and his 
Russell, are one oi 
the fathcr-and-son 
traditions in movie- 
land, for the fam- 
ily has long been 
known lo the fans. 

Eddie Quillan, 
right, and hi- 
ther, Joseph Fran- 
cis, appear together 

in "Noisy X 


Continued from page 96 

aged wives as their dancing partners 
in the absence of their husbands, who 
are coincidentally spending the eve- 
ning with the chorus-girl sweethearts 
of the boys. Basically this was the 
plot of the stage farce, which reached 
the screen intact in its silent version, 
but apparently the introduction of 
music must needs bring with it the 
foolishness of a musical comedy 
story. Neither boys nor wives are as 
sharply characterized as before, the 
consequence being that much of the 
fun goes begging. The ringleader 
of the matrons, first played on the 
screen by Louise Fazenda, becomes, 
in the hands of Dot Farley, nobody at 
all ; and the Swedish boy, originated 
by Arthur Lake, is played as a half- 
wit by David Rollins. Richard Keene 
and Nick Stuart are the others. The 
three girls are played — no, I won't 
say played — by Sue Carol, Dixie Lee, 
and Jean Bary, whose light, hard 
voices betray their limitations as 
speaking actresses. And the other 
two wives are Laura Hamilton and 
Ilka Chase, who, as much as any one, 
is responsible for the first word of 
this review by a bored, resentful 

Brother Against Brother. 

Although "Side Street" has the 
distinction of having those pleasant 
actors, the Moore brothers, in the 

The Screen in ReViev? 

leading roles, the film must be cata- 
logued as just another gangster pic- 
ture, even though there are times 
when it threatens to rise above the 
average. Three brothers, played by 
Tom, Matt, and Owen, are city phy- 
sician, policeman, and master mind 
of an underworld gang. Dennis 
keeps his family in ignorance of his 
movements and source of money, 
and helps one of the brothers through 
medical college. Finally his opera- 
tions are drawn into his family's 
street, and unknowingly the gangster 
and the cop brother match their 
wits. The cop lays a trap for the 
unknown gang leader, and the latter, 
sensing that he is trailed, lays a trap 
for the officer. 

The film has some fine human 
touches, especially in the O'Farrell 
home, but much of it is purely me- 
chanical and fails to exploit the melo- 
dramatic possibilities of the situation. 
Owen gives an interesting perform- 
ance as the boss gangster, and Matt 
and Tom do well enough with their 
roles. Others in the cast include 
Kathryn Perry, Frank Sheridan, 
Emma Dunn, and Arthur Housman. 

Who Killed Mrs. Drake? 
With all the murder-trial pictures 
since films began to talk, you may 
have the habit now and, like a police- 
court fan, go tearing down to the 

theater when a trial picture comes to 
town. Then you will see "The Drake 
Case" as a matter of course. Or you 
may be a sentimental soul who 
shrinks from courtroom drama, but 
would like to see the last work of 
Gladys Brockwell. In that case don't 
hesitate to see her, for the story is 
not strong enough to matter a great 
deal, and it is the sort that you never 
quite get worked up over. And Miss 
Brockwell is good, playing with a re- 
straint that makes many of her scenes 
extremely effective. 

The story is artificial, settings in 
the Drake home resembling the over- 
loaded rooms of the flicker-movie 
period. At times exciting, much of 
the picture is dull. It is one of those 
stories about a mother and daughter 
being reunited in a courtroom. The 
mother, played by Miss Brockwell, 
is on trial for murder, but is silent. 
The redeeming feature of the plot is 
that you will not guess who killed 
Mrs. Drake until the director is good 
and ready for you to spot the villain. 

Forrest Stanley, as the prosecuting 
attorney, leans over the witnesses, 
grins into their faces and talks quite 
dramatically. While he thunders out 
the true story of the killing, it is 
shown on the screen in a flashback. 
Robert Frazer is much the best of a 
rather large supporting cast. 

Continued from page 94 
sides, Dot's fans are still numbered by the 
thousands ! 

To the fans : Are there still any of 
you who write fan letters to the stars 
since the edict went out that if you wanted 
a picture of your favorite, he or she 
would give you the privilege of buying it? 
To me, the star who would sell his photo- 
graph is in the same class as the circus 
freak, and I treat him accordingly ! 

Harry M. Cohen. 
2 Burnside Avenue, 

Newport, Rhode Island. 

A Fan Loses Faith. 

Ever since I saw "Weary River," I 
have my doubts about the talent of all 
actors. I attended the opening of "Weary 
River" in a large city. It ran for three 
weeks to record crowds who were com- 
ing to hear Dick Barthelmess sing. Every 
one was enthralled with Dick's voice. 

As you know, Dick did not sing. Last 
week I was in the same city, and, for 
comparison, saw "Drag." Were there any 
record crowds? There zvcre not. The pic- 
ture was lucky to stay in that city one 
week. Why? Because the public is not 
going to put up with Dick Barthelmess 
going through a picture on somebody 
else's shoulders. Bob Allen. 

233 Huffman Street, 

Waynesburg, Pennsylvania. 

Are "Cold" Stars Liked? 

Why are the stars that are refined and 
beautiful always referred to as being up- 
stage and cold? I refer to Florence 
Vidor, Yilma Banky, Dolores del Rio, and 
Virginia Valli. Thev are all beautiful 

What tke Fans Think 

and can really act, but just because they 
don't caper around like so many of the 
flappers, they are called cold and indif- 
ferent. There are different types of ac- 
tresses, and, for my part, I prefer refine- 
ment and dignity. 

Will some one please explain just how 
Alice White gets by? She is not good 
looking and cannot act at all. This will 
cause quite a bit of comment, I am sure, 
but I have never been able to see Greta 
Garbo's acting ability or her beauty. Yet 
anything she does is considered marvel- 

I have had the pleasure of seeing many 
stars in person lately. Vilma Banky is 
the most beautiful woman I have ever 
seen, and looks younger in person than on 
the screen. Lily Damita is very charming, 
and also looks much younger in person. 
Baclanova is lovely and has a very charm- 
ing voice. Leatrice Joy is very charming 
and also has a lovely singing voice. 

I think some contributors are very un- 
kind. What has Dolores del Rio done to 
receive such unkind criticism? The fans 
always say such unkind things about her. 
Her voice is very sweet and she can act, 
too. Lupe Velez has a very beautiful 
singing voice. And, fans, weren't you 
thrilled to hear Ramon's voice? I thought 
"The Pagan" wonderful. 

I have one more complaint to make. 
What have they done with little Renee 
Adoree? She is a marvelous actress. 
Won't some kind director give Renee a 
break? Mildred F. 

4913 Genevieve Avenue, 
St. Louis, Missouri. 

Kit Leyland Answered. 

The silly letter of Kit Leyland amused 
me. In a smug manner he tries to dis- 
illusion us poor, misguided girls in re- 
gard to the disappointing appearance of 
our screen heroes in real life, saying, in 
effect, that grease paint improves the fea- 
tures of the actors ! Really, fans, I had 
never thought of that before, hid you? 
Stars' faces are actually improved by 
good lighting and make-up! How do peo- 
ple think of these things? 

He gives what he fondly believes to 
be a damaging description of Ramon No- 
varro — "short, dark, and Mexican." Cer- 
tainly; why not? Strangely enough, that 
is just how I have always pictured Ramon 
in my mind — a smallish young man with 
black hair, dark eyes, and olive com- 
plexion. Delightful ! I am a native of 
fair-skinned England and detest blond 
men. I admire the liquid eyes and olive 
skin of the children of the sunny South. 
I am so pleased to know that my mind 
picture of Novarro is right. Thank you, 
Mr. Leyland; I am deeply grateful. 

For Mr. Leyland's benefit, I think I 
can safely say that the popularity of 
Ramon Novarro, which is considerable in 
England, is not based solely on good 
looks. Those, like myself, who have seen 
all his films since "The Prisoner of 
Zenda" realize his versatility — not suffi- 
ciently exploited by his company — admire 
him for his ability and personal charm, 
and respect him for his sincerity. 

The remarks on Valentino were rather 
nauseous, I thought, and what purpose 

Continued on page 100 


Tasty Morsels 

Of course these bites are good, for a 
sandwich or a doughnut shared in this 
manner may have romantic significance. 

Dorothy Mackaill, below, gives Sidney Blackrru r a 

bite of cake, and he knows how such things were 

meant to be eaten. 

Gordon Elliott, right, samples a bit of something 

from the tea table of Vivien Oakland while working 

together in "In the Headlines.'' 

Josephine Dunn, below, kindly offers Eddie Xugent 
the first b : te from her ice-cream cone, but he seems 
to doubt the genuineness of the offer, or- perhaps he's 
reviving the old one about the bite being bigger than 
the cone when he gets through. 

A doughnut is real 
cake under these cir- 
cumstances, Jack 
Oakie, above, be- 
lieved when offered 
one by Evelyn Brent, 
n "Fast Company." 

George Lewis, 
low, receives his first 
bite at dinner from 
Mrs. Lewis, but 
whether this is of- 
fered as a regular 
ritual for young 
married couples to 
start off a meal is 
entirely speculative. 

100 r . . . 1ft Stingy? No, Just — er— Careful 

Continued irom page 18 °^ ' 

days gone by, was in dismissing' must saved soap most diligently, gathering 

of the studio force when they went small pieces together to make wads 

abroad. Evidence that most of those much larger. 

who experienced this hardship did J'ola Negri afforded some amuse- 
not mind it seriously, was that the ment when she was with Paramount, 
majority returned to the Pickford- by generally spending her vacation 
Fairbanks studio as soon as there elsewhere when Christmas was at 
were signs of activity. hand. The routine of giving many 

Cutting corners in a professional gifts, which was then more of a cus- 

way is, on the whole, good business, torn than it is to-day, probably would 

It goes on from time to time, when- have irked the temperamental Pola. 

ever the spirit seems to move in some She was far from being a chary 

places, and is not always fruitful of spender, however. 

the greatest soundness and stability. An amusing anecdote is told of 

Many people in pictures have taken Stepin Fetchit, pertaining to an ar- 

the attitude of "get as much as you gument over money. It happened 

can while you can," because their when he was on location in "Salute," 

jobs are so insecure. the naval picture. Stepin's father 

Stars who are not spenders are well was handling his financial affairs, 
represented among the character ac- and while in the process, Stepin's sis- 
tors. For one thing, they are not ter desired to buy a dress for the 
called upon to put on such a bold moderate sum of $18. Stepin's father 
front as the others. The instinct to didn't feel that he could O. K. the 
hoard is consequently more highly outlay while his son was away, so he 
developed. Needless to say, Ernest decided to phone him at Annapolis. 
Torrence is Scottish enough to be When Stepin reached home, the tele- 
careful, although not too frugal, phone company confronted him with 
while Wallace Beery's biggest indul- a bill for $92 toll in settling the argu- 
gence seems to be his airplanes. Lon ment. And sister also got the dress. 
Chaney would distribute his fortune What John Barrymorc does with 
too liberally were he not closely oh- his presumably great income has al- 
served at home. He is naturally gen- ways been mystifying. His one heavy 
erous, but too heavy drains are not indulgence is in yachting. He has 
made on his exchequer. never gone to extremes in living, and 

Like other human beings, stars clothes have never become a mania 
may save very liberally in small with him, as with most other matinee 
things, comparing with the person idols. The presumption is that Bar- 
who puts pieces of string away for rymore is banking or investing a 
some indefinite future use, or the great deal of his fortune, 
housewife who raises a rumpus if Al Jolson gives the world a laugh 
salt, sugar, or butter is too freely dis- with one of his peculiarities. It be- 
pensed, and then goes out and buys a longs to his stage rather than his 
thousand-dollar Oriental rug as an movie career. He used to go into 
investment. Tom Mix, with the gay the box office to sell tickets and count 
extravagance of his career, is cited the money. For contrast, Al sup- 
as an example. He is said to have ports various charities, but he never 

will rest until he becomes a movie 
producer. He regards a star's life 
as a misery, financially, because so 
much of the profits are distributed 

Charlie Chaplin has stood up nobly 
under heavy assaults on the treasury 
in two divorces cases, the last having 
been especially depleting. In the 
early days he was so careful with 
money that he was cited as a classic, 
example. The anecdote will never be 
forgotten of how once he went as a 
guest to Vernon Country Club, then 
the popular rendezvous in the old 
Keystone days, and was handed a 
bill for fifty dollars for entertain- 
ment, because nobody else had 
"brought any money." The story 
goes that Charlie wouldn't speak to 
anybody on that party for weeks 
thereafter. Well, there are plenty of 
others who would have felt the same 
way about it. 

After all, the Hollywood spending 
habit, carried to extremes, leads to no 
end of grief for the spenders. The 
smart movie stars don't throw their 
money away as they used to. They 
don't listen to every plaint of 
"Gimme," but discriminate. The 
saving habit is undoubtedly carried 
to unnecessary lengths at times, and 
is injudiciously exerted in a number 
of others, but the larger spirit of the 
movies is to be liberal. If the aban- 
donment of • some of the foolish 
swank that is still put on by certain 
stars were to go by the way, things 
would be much better. Too many 
of them still spend too much money 
on themselves at the expense of 
others. But they are on the whole 
good-hearted, and instances of tight- 
ness are more amusing than other- 

Continued from page 98 
do they serve? Valentino is dead, and, 
for Heaven's sake, let him rest! 

Incidentally, I saw Valentino himself 
on the one occasion he visited London, and 
can give Mr. Leyland the lie. I thought 
his appearance charming, and I was not 
a particular admirer of his. I am saying 
this because I like to be fair. Fie, Kit 
Leyland ! Your attempt at disillusionment 
has missed its mark. Dorothy Dawson. 

IS Lexham Gardens, 
Kensington, W., London, England. 

Enter Rudy Vallee. 

I am going to be a pioneer in this, my 
first letter to "What the Fans Think," 
for what I am about to write concerns 
some one who is, as, yet, perhaps un- 
known to most film fans, yet a potential 
film star. I refer to the one and only 
Rudy Vallee. 

'Twas strange how I first discovered 
him, early last winter, broadcasting in 
New York City. It happened that his 
program followed one to which I had 
been listening and, as fate would have it, 
I didn't change the station. Presently I 

What tke Fans Think 

found myself repeating the procedure each 
Saturday afternoon. His rhythm in- 
trigued me, for his dance music isn't 
dance music as enjoyed by the jazz mad. 
It is music — dreamy, expressive, yearning 

Then, one night, suddenly that inde- 
scribable something — that charm irresist- 
ible which I term a caress in his voice, 
caught me in its spell, and I lost all power 
of resistance and surrendered! 

Many girls who have not been fortu- 
nate enough to hear his radio programs 
have a thrill in store when they hear him 
in his first picture, if the reproduction 
doesn't mar the softness of his voice. I 
pray that RKO will not make his film as 
harsh as was the lamentable "Syncopa- 
tion." I don't want fans just making 
his acquaintance to gain the wrong im- 
pression of Rudy and condemn him, when 
the fault lies with the apparatus. I'm 
afraid his voice will be a most difficult 
one to reproduce — for it is soft and low 
— sweetly so, and if the producers make 
it seem loud by means of increase in 
volume, fans will not hear Rudy as I 

know him and many other radio fans do. 
That is a particular trait in Rudy. He 
seems ever to be evading the spotlight. 

He is also an accomplished saxophone 
player, and if any one believes there isn't 
beauty or music in one, they haven't heard 
one played by Rudy Vallee, and I would 
advise him to purchase one of ihis records 
and listen very closely. Such rhythm, such 
tones, such beauty ! 

I would add for the benefit of those 
who will inquire about his name, that it 
is Hubert Prior Vallee. The Vallee is 
his own. Rudy was given him as a boy 
because of his enthusiastic admiration of 
his idol, Rudy Wiedoeft, the saxophone 
king. He is very idealistic, shy, reserved, 
and quiet — musician, composer, and, now. 
a potential film star. I wish him a world 
of success, and I'm sure the fans are 
going to be proud of him and add him to 
their list of favorites- — although he rather 
stands alone. Mary E. Lauber. 

119 West Wyoming Avenue, 

Germantown, Philadelphia, Pennsyl- 

Continued on page 107 


The Midnight Oil 

Nowadays the players are burning lots of it learning 

their lines, stopping now and then to sigh for the good, 

old silent days. 

Sally Starr, left, finds a perch 
behind the set on the sound 
stage and digs in, preparing to 
speak her speech "trippingly 
upon the tongue" as a new 
screen discovery is expected 
to do. 

Robert Montgomery, right, re- 
moves his coat and tackles his 
lines right in the midst of a lot 
of machinery, for the newly- 
found concentration in Holly- 
wood rises above inharmonious 

Ramon Novarro, below, may be 
pictured by the fans as floating on 
tropical seas warbling to bis lady 
love, but there is another side to 
it, for there is much prosaic work 
behind every talkie scene. 

One good reason why 
Norma Shearer, above, is 
riding the talkie crests is 
that she snatches every op- 
portunity to refresh her 
memory before the cameras 
start grinding. 

Zita Johann, left, who hails 
from the New York stage, 
tries out the new type of 
director's chair while get- 
ting acquainted with sound 
production, but the script 
must be dragged along on 
the inspection tour. 


Information, Please 

A department where questions are answered, advice is given, 

and many interesting phases of motion-picture 
inent side lights 

vv • Anita Page is your favorite ac- 
tress, you've got lots of company ! Anita 
has certainly gone over big for the two 
years she's been on the screen. Anita 
was born August 4, 1910, and is not mar- 
ried. Nor even engaged. Her newest film 
is "Navy Blue," opposite Bill Haines. As 
to whether you would see her if you went 
to California — that depends on whether 
she happens to go out on the street the 
same time you do, and the same street. 
Joan Crawford's new film is "Untamed." 

Dorothy Pierce axd Louise Melton.— 
"iou're all wrong, calling me Solomon. 
How could I support a thousand wives on 
my salary? We don't announce fan clubs, 
but if any one asks about David Rollins 
or Don Terry, I'll refer them to you. 

Mary Ann Bailets.— You're verv flat- 
tering! If anybody would know, I would? 
Well, as it happens, I do. Pola Negri's 
present address is Chateau Rucil Serain- 
court, Par Moulan, Seine et Oise, France. 

Wondering.— You sound like a theme 
song. Clara Bow was born July 29, 1905. 
I think M.-G.-M. takes care of sending out 
Greta Garbo's photographs. A fan club 
is merely a group of a star's admirers who 
correspond. Any one can join bv writing 
to the person in charge. 

P. D. — Don't tell me the police depart- 
ment has found me out at last! See 
above. Ramon Novarro was born Feb- 
ruary 6, 1899, and has never been married. 
Yes, Dorothy Jam's was the heroine in 
"The Pagan." 

V. Lucille Lewis.— Clara Bow and her 
hair are quite a problem to an answer man. 
It's been every color, hut she tells me it 
was reddish to begin with. See Wonder- 
ing. Clara is five feet three and a half 
and weighs one hundred and fifteen 
pounds. As to whether her love life has 
ever been printed— probably, but not in 
Picture Play, and I have no files of other 
fan magazines. Sue Carol's real name is 
Evelyn Lederer; she was born October 30, 

Bruce Stevens.— Poor Gladys Brock- 
well— killed just as she was staging a film 
comeback. Her last films were "The 
Home Towners," "Woman Disputed," and 
"From Headquarters." In seven years 

Pauline Garon has made too many pictures 
to list them all here. Her newer films 
are "Must We Marry?" "The Gamblers," 
and "Headlines." Alma Rubens doesn't 
give her age; her first important film was 
"Humoresque." Other early pictures were 
"Find the Woman," "Valley of Silent 
Men," "The Rejected Woman." No, I 
have never heard of Kenneth Duncan, but 
extras' names are seldom heard of. 

Harry S. Given-. — If you wish to get 
in touch with the Kenneth Harlan Fan 
Club, write Mrs. Ethel S. Cottingham, 
2228 North Emerson Avenue, Minneapolis, 

A Don Alvarado Fan. — You'd never 
guess what has happened to little curly- 
headed Richard Headrick, former screen 
child. He's now a child evangelist ! I 
suppose Pat Moore is busily going to 
school. Apparently Sonia Karlov never 
got anywhere; she was signed 'by DeMille 
and then DeMille's company broke up". 
Eugene O'Brien plays in vaudeville, that 
haven of retired stars. Yes, Louise 
Brooks has left the American screen — 
some sort of studio politics — and is now 
making pictures in Germany. I'm sorry, 
but I don't even know the maiden name 
of Airs. Don Alvarado. 

Charlie M. — I didn't see "The Legion 
of the Condemned," but as nearly as I can 
tell from the synopsis, it was Lane Chan- 
dler who played the young New Yorker 
who joined because he was tired of life — 
Charles Holabird. Lane is from Montana 
and was passenger agent for Yellowstone 
Park Transportation Company before go- 
ing on the screen as extra in "Dorothy 
Vernon of Haddon Hall." He recently 
played with Greta Garbo, in "Single 
Standard." At last accounts, Menjou was 
going to produce his own pictures on his 
return from Europe. Anita Page was 
born in Flushing, Long Island ; see W. M., 
Elkhart, Indiana. 

Miss Dorian E. Precourte. — I'll record 
your Lane Chandler club for future refer- 

B. C. S. — This voice doubling in pic- 
tures quite baffles me. Occasionally it 
leaks out who sang the star's songs ; oth- 
erwise it is impossible to find out, because 
the film companies pretend the stars do 

it themselves. I imagine Betty Compson 
sang her own songs in "Hit of the Show," 
as she is quite musical. I haven't the least 
idea whether Sally O'Neil sang hers or 
not, or Sue Carol, in "Fox Movietone Fol- 
lies." As to married actresses born in 
Canada — there's Norma Shearer, Mary 
Pickford, Barbara Kent, Claire Adams; 
actresses whose husbands are actors in- 
clude Jobyna Ralston, Vilma Banky, Mary 
Pickford. Dolores Costello, Joan Craw- 
ford, Barbara Bennett, Alma Rubens, 
Ruth Chatterton, Ina Claire, Doris Ken- 
yon, Helen Lynch — quite a list. 

J. Lubansky. — Virginia Valli was the 
heroine in "East Side, West Side." 

Erlene of South Dakota. — You seem 
all preoccupied with marital matters. Rex 
Lease and Charlotte Merriam were di- 
vorced last April. Mrs. Give Brook was 
formerly Mildred Evelyn. I know only 
that Neil Hamilton's wife's name is Elsa, 
and I don't know the name of Mrs. John 
Mack Brown. The hero in "Bred in Old 
Kentucky" was Jerry Miley. The lead- 
ing lady in "Say It Again" was Alyce 
Mills, and in "The Man Who Came 
Back," Dorothy Mackaill. 

Miss Edna Tow'ell and George H. 
Smith. — Thank you very much for send- 
ing me the address of British International, 
which I will keep on record hereafter. 

Aase E. Bay. — The screen version of 
"Ann's An Idiot" was called "Dangerous 
Innocence." Laura La Plante and Eu- 
gene O'Brien played the leads; Hedda 
Hopper and Jean Hersholt were also in it. 
And I wish to thank the five fans who 
wrote in with this information. 

Lonesome. — See above. Tony, in "Feet 
of Clay," was played by Ricardo Corn z. 
No, Corinne Griffith did not really sing 
in "The Divine Lady." Doris Kenyon was 
born September 5, 1897; John Mack 
Brown, September 4, 1904, Evelyn Brent in 
1899 — no month given ; Vera Reynolds, 
November 25, 1907. I'm afraid Vera 
Reynolds has not been interviewed re- 
cently enough in Picture Play for the 
issue to be available. Eugenia Gilbert 
seems to have left the screen, and I don't 
know how she can be reached unless just 

Continued on page 120 


Suntanned CKeeks 

Wearing the simple beret for motoring and sport should 
encourage Old Sol's kisses, anyway. 

A tan beret to 

match her coat 
and furs is the 
choice of Mary 
Duncan, above. 

Barbara Kent, 
left, who hails 
from the wide, 
open spaces, is 
still fond of 
outdoor life. 

Helen Twelve - 

trees, right, 

prefers a blue 


The white beret of 
Dixie Lee. above. 
cannot cope with her 

unruly locks, but the 

effect is rather cute, 

eh, what? 

ice Blinn, left, 

also wears the white 
beret with equally 
crood effect. 

The sport costumes 
of Olive Borden, 
right, are topped In 
a white tam. perhaps 
one of the reasons 
why Hollywood is 
golf mad. 

Style and 
arc combined 
by Joan 
("raw ford, 
right, in her 


Continued from page 74 

Renee, from her place in the ring, 
saw this and, with a scream of hor- 
ror and fury, was at the Turk's side 
in a moment. Snatching his whip 
with the wicked steel thong on the 
end of it, and wielding it with both 
muscular, little arms, she lashed out 
at her master in a frenzy. Beating 
him until he cowered in a corner, and 
then jumping on him with both feet, 
she was finally dragged away, a small 
virago, sobbing, between epithets, for 
Iter poor, mutilated horse. 

Back in her father's circus, the out- 
break of war did considerable dam- 
age to their business. In order to 
keep the little troupe in food, Renee 
and her sister got work in a factory, 
wrapping bouillon cubes. Their 
earnings were about fifteen cents a 
day, with a penny extra for every 
additional thousand cubes they 
wrapped. Renee, unaccustomed to 
the close atmosphere, had fainting 
spells, and her sister worked with 
frantic speed to cover Renee's lapses. 

When the circus was playing a not 
very profitable engagement in Bel- 
gium, on the outskirts of Brussels, 
the German invasion came. Saving 
nothing but the clothes they wore, the 
family joined the other refugees in 
flight to a boat for England. On 
board there was a search for a 
woman spy. Renee was stripped and 
the skin taken off her back with al- 
cohol, in the belief that there was a 
message on it in invisible ink. The 
spy was found elsewhere, and the 
bewildered Renee, her back stinging 
and raw, was allowed to proceed to 

In London the first stirrings of 
conscious ambition began to trouble 
her. She slept in a real bed — and 
suddenly realized that the narrow 
bunks in caravans' had been uncom- 
fortable. She had glimpses of the 
London theaters, and realized that 
the carefree, wandering existence of 
her father's circus was not the only 
possibility life offered. 

Renee — As She Is 

Jobs as a dancer in London shows 
— an offer from ..Australia — running 
away from London — packed aboard 
a transport bound for Halifax — land- 
ing in New York because of the fa- 
mous Halifax disaster — detained in 
the immigration offices — shipped to 
Canada under guard — sharing a seat 
in a tourist train with a muttering 
Chinaman — arriving in Vancouver 
ten days before the Australian boat 
was to sail, with just enough money 
to buy one meal a day — sleeping in 
the draughty station at night. Only 
fifteen years of age, yet she wasn't 
frightened and, being magnificently 
healthy, survived without so much 
as a cold, although it was the middle 
of a bitter winter. 

After a few months in Sydney, she 
returned to New York and worked 
there for some time, dancing and 
singing. Spotted by Louis B. Mayer, 
she was signed for pictures and has 
been a Hollywood luminary ever 

Mclisandc, in "The Big Parade," 
is still the finest work she has done. 
Some day some wise person may be 
inspired to cast her in John Mase- 
field's "Tragedy of Nan," and then 
her Mclisandc would be topped. But 
things will not occur through any 
coercion on Renee's part. She has 
not the gift of salesmanship. Around 
the studio she is "The Frog," adored 
by the help, depended upon by the 
officials to jump in anywhere and 
save a picture from failure. 

She lives in a shabby, rambling 
bungalow on an unfrequented coun- 
try road near the sea, having moved 
there from a stucco mansion which 
she bought impulsively and loathed 
for its blatant newness. She loves 
old houses, old furniture. Her pres- 
ent home is small and sunny, unpre- 
tentiously comfortable, the house sur- 
rounded by an acre of ground on 
which grow avocados, berries, grapes, 
fruit trees, vegetables, flowers — all 
planted in charming confusion. Her 

menage is polyglot, a German cook, 
Indian maid, Polish chauffeur, Chi- 
nese chow dogs, Persian cats. An 
aviary, forever being populated anew 
by prolific canaries, is one of her 
dearest possessions. A canny Irish 
lawyer looks after her finances and 
allows her only a moderate income, 
knowing her airy prodigality with 

Like most families who have faced 
adversity together, the Adorees are 
passionately devoted. On Renee's 
dressing table is a picture of her 
mother — a beautiful, delicately fea- 
tured woman. Renee writes to her 
regularly, and has always provided 
for her comfort. 

No laughter, when she is in high 
spirits, is more infectious than Re- 
nee's. She is ingratiating, gamin. 
Her humor is broad and she loves 
practical jokes. She seldom smiles, 
without laughing outright. A group 
calling themselves, for no special rea- 
son, the "unholy four," is composed 
of Renee, Ramon Novarro, Ronald 
Colman, and Charles Lane. Their 
diabolic function is to attend neigh- 
borhood movies together, explore lit- 
tle-known parts of Los Angeles, or 
just to sit and talk. With these co- 
horts, Renee, whose physical mag- 
netism rates high, has the status of 
a boy, a good, little sport, a regular. 

Although unhappiness has dogged 
her personal life, it has left no taint 
of bitterness — only a pervading wist- 
fulness of which she is unconscious. 
Elemental in the honesty of her emo- 
tions, in her enthusiasm for life and 
her eager love of people, loyal and 
kind, devoid of malice, there is some- 
thing gallant about her. And some- 
thing a trifle pathetic, because of her 
consequent defenseless exposure to 
the political intrigue of Hollywood. 

She ought to be a star, but it is 
doubtful if she ever will be. Skilled 
purveyors of personality get electric 
lights before Renee, who has plenty, 
hut doesn't throw it around. 

Continued from page 92 
rounding her passing were curious, 
according to all reports. She was at 
a picture theater, viewing "Bulldog 
Drummond," her son's first talkie. 
She had not heard his voice for 
eight years, and the excitement of 
seeing him and actually listening to 
him speak proved too much for her, 
as she was very advanced in years. 
She collapsed during the showing and 
died a few days afterward, but word 
came that she was happy during her 
last days, because the voice of her 
son had been audible to her once 

Hollywood Higk Ligkts 

Blond Stars Reglimpsed. 
Miss Dupont and Lillian Rich ! 
Two players popular several years 
ago reappeared on Hollywood's hori- 
zon recently. Miss Dupont is re- 
membered as the heroine of Erich 
von Stroheim's "Foolish Wives," and 
Miss Rich as a Cecil DeMille star. 
Miss Dupont, since her marriage, has 
definitely retired from the screen. 
She came to the Coast only on a visit. 
Miss Rich returned with the ex- 
pressed hope of returning to pictures 
in California. She has been in Eng- 

land for the past few years, working 
in the studios there. 

Rogers as Yankee. 
Will Rogers is very desirous of 
remaking "A Connecticut Yankee In 
King Arthur's Court," a big hit of 
eight or nine years ago. Rogers 
would play the Yankee. Several long 
debates have been held on the sub- 
ject at the Fox studio, and it looks 
as if the Rogers gift of speechmaking 
were winning against arguments 
against the idea. Opposition at first 
was pronounced, because it was felt 

Advertising Se< 


that Will was too mature for the im- 

Rogers is to make four pictures, 
and every one feels that with the ad- 
vantage of using his voice he will 
carve a niche for himself in the mov- 
ies. So far he has only made a par- 
tial hit. 

Loretta Young to Wed. 

Only sixteen, but deeply in love. 
So may the present state of Loretta 
Young he described. And she has 
yielded to the persuasions of one of 
the film colony's heart-breakers — ■ 
none other than Grant Withers. 
They are to be married very soon. 

Loretta began her screen career at 
fourteen years of age, and apparently 
is destined for popularity, especially 
in the talkies. For a mere youngster 
she has a voice of remarkable depth 
and dramatic power. She showed 
this marked talent in "Fast Life." in 
which she is featured with Chester 
Morris and Douglas Fairbanks, Jr. 
Some critics were unkind to her, he- 
cause they said she was poll-parroty, 
but she impressed us very favorably, 
considering her youth. 

So many people are assuming these 
days that only the stage actors can 
satisfy with their voices, that they 
are reluctant to give the screen group 
credit even for valiant efforts. It 
has been proven that the majority of 
the fans would much rather hear 
their picture favorites speak. 


You are a lovely dream. 
Like the reflection of 
A white rose in a silver vase. 
Your hair, the shadows 
That the moonbeams trace 
Across the starlit skies. 
And in your eyes, the shade 
Of butterflies' blue wings, 
While deep within the echo 
Of your velvet voice 
The robin ever sings. 

Jean Douglas. 


I met my love in Hollywood 

Beside the "sea" ; 
She was a Sennett bathing girl — 

The queen for me ! 

"How soon shall we be married, 
dear ?" 

Said I to Rose. 
"Sir," she said, "you couldn't even 

Buy my clothes !" 

I took one look at her and, 

Though I like her, 
1 wouldn't want a wife who thought 

Me such a piker! 

Edith Pierce Jones. 

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The Stepchildren Make Whoopee 

Continued from page 70 

"Sure, he uses that much for four 
people," added Paul Ellis. 

"Remember the time you put too 
much garlic in the spaghetti ?" con- 
tinued Ramon. "We went to work 
and they had to close the studio." 

"Every time we walked through a 
room every one got up and left," 
said Marcel. 

"My God !" exclaimed Barry. 
"You ought to have been in quar- 

"Did you ever sit in the upper 
gallery at the Metropolitan Opera?" 
asked Paul. 

"Yes!" said Barry, enthusiastically. 
"The people up there go to hear the 
opera, not see it. They all eat garlic, 
and every time any one opens his 
mouth to talk everybody ducks. 

"Americans do not appreciate 
opera," said Barry. "They go, but 
not to hear the music. They go be- 
cause it is fashionable. Down in the 
Argentine everybody likes opera. 
The poorest laborer will save enough 
to buy a cheap seat. In New York 
the real music lovers are the foreign- 
ers who sit in the gallery." 

"Americans don't appreciate art in 
any form," said Ramon. 

"That's a strange thing," said 
Barry. "I like America — I am going 
to take out naturalization papers — 
but that is one thing I cannot un- 
derstand. The people here do not 
appreciate art. They have art, and 
nothing better can be found in the 
world. The Ziegfeld 'Follies' — why, 
there is nothing better anywhere 
than that. The best in Buenos Aires, 
Vienna, London, Paris — even the 
'Folies Bergere' — cannot equal the 
Ziegfeld 'Follies.' America has the 
art, because she has the money — even 
if the people don't appreciate it." 

If frankness is a virtue, then these 
foreigners are well supplied with that 
quality. And as for vices, their most 

conspicuous one is a marked ten- 
dency to play strange card and guess- 
ing games. Because of their vivid 
imaginations and unusual cleverness, 
they are very easily entertained. It 
is the people lacking in these qualities 
who require hectic and expensive 
amusement. Many an evening I have 
seen them sit around a table for 
hours devising various games played 
with cards, or with paper and pen- 
cil, and have a hilariously good time. 
At every crisis, or near crisis, every 
one jumps to his feet and pande- 
monium reigns. All this enthusiasm 
is produced by their own rich and 
electric personalities, and without the 
aid of a drop of liquor. One can 
only wonder what would happen if 
the customary drinks were served. 

Believe it or not, a popular di- 
version with this crowd is cooking, 
and an even more popular one is 
eating. The only one who shrinks 
from domestic duties is Barry. It 
is easier to perform the task oneself 
than to attempt to get that boy into 
action. Moreover, he doesn't under- 
stand American cooperation. One 
evening we had all gathered at the 
home of Marcel and were attempting 
to get dinner. Into the kitchen came 
a ladylike journalist wearing a baf- 
fled expression. 

"I can't set the table until Barry 
gets off it," she announced. 

"Ask him to sit on a chair," I 

"He isn't sitting, he's standing," 
said she, sadly. 

I could write about these charm- 
ing and inventive people almost in- 
definitely, but I won't. Enough is 
enough. Drop in to see me some day 
and I will tell you about the time 
Barry rode his horse into the house, 
and about that beautiful afternoon 
when we organized a baseball team 
and played on the public highway. 


I go every week to the movies to see 
A star who has made such a great hit with me. 
And I sit there just thinking how happy I'd be 
If I could but know her quite well. 

I'd see for myself if she's blond or brunet, 
She would smile for me — oh, the cute little pet, 
And somehow I'd manage to kiss her, you bet, 
If I could but know her quite well. 

But stop ! It may be that her temper is hot, 
And her curls may be false, just as likely as not, 
And then there's the chance that she'd cost me a lot ! 
Who knows — it may be just as well ! 

T. M. Arbuthnot. 

Advertising Si < riON 

Over the Teacups 

Continued from page 29 

say she wanted to go off and have a 
good cry. But instead, she controlled 
her feelings, and awarded the watch 
to Helen Raften, of Brooklyn, who 
resembled her to the extent that she 
parted her dark hair in the middle, 
and had two eyes, a mouth and a 

"Victor McLaglen and Dolores del 
Rio are just the vanguard of an army 
of stars who are going to make per- 
sonal-appearance tours. Charlie Far- 
rell is to be the next, lie will go up 
to Cape Cod to appear at the little 
theater where he used to he usher, 
ticket chopper, or whatever was 
needed at the moment. His father 
owns it. 

"I'm all in favor of personal ap- 
pearances, if the stars can sing or 
dance, or do something more than say 
a few kind words and take a bow. 
I wish that Fox would send Sharon 
Lynn East, with 'Sunnyside Up.' 
There is a girl who can play and 
sing, and she is so beautiful that she 
would never be a disappointment 
across the footlights. But imagine 
what will happen if companies start 
sending such frightened youngsters 
as Loretta Young out on tour ! She 
almost died of stage fright when she 
had to appear at a Wampas ball, and 
that was just among friends. 

"Loretta is so grown up in her re- 
cent pictures, it is startling. I wish 
they wouldn't put her in pictures like 
'Fast Life,' " Fanny complained. 

"You'd relegate her to gingham 
and gardens in the sunshine, I sup- 

pose, and then where would she he?" 
I asked. 

"Well," Fanny commented, "Janet 
Gaynor is getting along quite nicely' 
in gingham, thank you." 

I had never thought of that. But 
given 1km- choice, 1 dare say Loretta I 
would stick to the sophisticated, smart 
pictures. Youngsters are like that, | 
and Loretta will be a youngster for 
three or four years more, by film 
standards, even if she has recently 
announced her engagement to Grant 

"I suppose you know" — already 
Fanny had turned her attention to 
something else — "that Pola Negri is 
in this country. Not to make pic- 
tures, though. She came over to dis- 
pose of some property in California. 
Then she is going back to London 
to work. She said that she never 
did her best work in Hollywood, that 
there was too much standardization. 
too much hurry, too many efficiency 
experts interfering. She has finished 
a picture over there. 

"But will any one ever see the pic- 
ture?" I asked merrily. 

"The chances are good," Fanny ad- 
mitted. "Warners have to buy a 
couple of foreign-made films, accord- 
ing to the quota agreement, and it is 
practically set that they will take hers. 
Then we'll see if Pola really shook 
off the lethargy that settled over the 
last work she did here." 

But I wonder if even London will 
be as enthusiastic over Pola as it was 
over ( rloria ! 

What the Fans Think 

Continued from page 100 

Missing Quarters Jingle. 

My letter in regard to missing quarters 
has brought a number of answers from 
all over the United Suites and one from 
London, England. Every one of them 
takes up the defense of Miss Daniels, 
but, oh, how they love Miss Crawford — 
with a brick. 

What I gather from the answers to my 
letter follows : 

1. Secretaries are careless, because 
they send photographs to people who do 
not inclose quarters with their requests. 
On the other hand, they neglect to send 
a photograph to the ones who do inclose 
quarters witli their letters. 

2. If we arc to believe that the secre- 
taries keep the quarters for themselves, 
why do they send out photographs with- 
out any money? The stars should look 
into this matter. Fans who write letters 
to their favorites, inclosing a quarter for 
a photograph, are entitled to some consid- 
eration. Let our favorites not forget that 
these letters do not hurt their popularity, 
but increase it. 

3. The fans should bear in mind that 
the stars arc not superhuman, by any 

means. Therefore, we should nut lose 
our heads over them and make ourselves 
ridiculous by calling them "kings of 
hearts" and such nonsense. It i^ silliness 
of this sort that makes some stars go 
goofey, call it high-hat if you like. After 
all, most stars are nothing but high-sal- 
aried entertainers. Some of them are 

g 1. some of them are bad, according 

to our understanding and conception of 
their performances. Take, for instance, 
Clara Bow. She is a type, according to 
my estimation, a good-bad type. She may 
he the loveliest woman on earth, hut I 
detest her for the type she is, or, to be 
correct, the type she plays on the screen. 
I wouldn't give one smile of my girl for 
all of Clara Bow, including her "It," red 
hair, and exposed thiuhs. Am I losing 
my admiration for beautiful women? Not 
at all. It is just the matter of how we 
look at things, and that is all there is 
to it. S. Haigon. 

Providence, Rhode Island. 

Tut, Tut, Miss Perula! 

One or two fans write regularly t i 
Continued on page 109 

/ >>rrcs, 
^^B| li vii - Mayor 


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Tkrough Different Lenses 

Continued from page 55 

by a basket of flowers, perfectly at 
ease, as pretty a mother picture as 
one ever will see. 

"Out of doors a gentle breeze was 
blowing through the eucalyptus and 
redwood trees. Neighbors came in 
at times, informally, and were greeted 
and welcomed as neighbors. In fact, 
Mr. Hoover's sitting was interrupted 
twice, but he showed no sign of irri- 
tation or annoyance. His home ap- 
peared as though it is always open to 
those who live about him. It was 
apparent that he and Mrs. Hoover 
have that 'peace of God which 
passeth all understanding.' There is 
not, there could not be, a more beau- 
tiful homelife than theirs among the 
California redwoods. 

"I do not believe that camera por- 
traits can fully catch the personality 
of President Hoover. He can be 
done better in oils. His moods seem 
almost impenetrable, and only long 
study by some skilled painter can give 
an adequate conception of the virility 
and magnetism of the man he really 
is. His outstanding characteristic, it 
seems to me, is kindliness. A few 
moments of conversation reveals his 
strength. The shadow of a smile 
lurking in his eyes indicates his sense 
of humor. His whole demeanor im- 
presses you with goodness and fair- 
ness. He is the kind of man any 
girl would want as a father — one who 
would understand, sympathize, and 
be a rock of strength and protection 
when guidance was needed." 

This was the impression made upon 
Ruth Harriet Louise by the president 
before he had been elected the head 
of the nation. Eventually the photo- 
graphs emerged, with the forthcom- 
ing President of the United States 
posed as a movie actor would be 
posed. But no mascara was used on 
his eyes. No grease paint filled up 
wrinkles in his brow, nor obliterated 
crows' feet from the sides of his eyes. 
Under the deft management of Miss 
Louise, he was caught in many 
moods, and for the first time smiling 
a perfectly natural smile. 

She did not have to resort to the 
almanac jokes — "Now watch the 
birdie, Mr. Hoover. Smile sweetly, 
please. Let me see your teeth — all 
of them in the front row." She did 
not have to remark : "Please don't look 
as if the judge had just sentenced 
you to sixty days at hard labor," in 
order to bring forth that right-cheek 
dimple. She simply got Mr. Hoover 
to take his mind off the photograph- 
ing business and be himself. 

Ruth Harriet Louise began study- 
ing photography in New York when 

scarcely more than a child. She spe- 
cialized in character studies and so 
far succeeded that she attracted the 
attention of Metro-Goldwyn. When 
her ability was fully realized, she 
was signed to a contract to make por- 
traits of M.-G.-M. stars, and pos- 
sibly she is the highest-paid woman 
photographer in America. Her por- 
traits long have adorned the pages of 
Picture Play. 

Now she has the distinction of be- 
ing the only photographer to the 
stars ever called upon to make por- 
traits of a president, and Mr. Hoover 
is the only president ever posed and 
photographed as a movie star is 
posed and photographed. And if you 
want to see the difference between 
pictures, look at those accompanying 
this story. 

Now this incident concerning the 
president may prove to many that 
stars are not as beautiful in real life 
as they appear on the screen. Which, 
in a great measure, is true. 

Any number of actresses who 
"photograph like a million" are, off 
screen, just young women of average 
beauty. A few can walk through 
busy traffic, without occasioning a 
second look. Greta Garbo can do 
this. So can Lillian Gish, Vilma 
Banky, Eleanor Boardman, Renee 
Adoree, Pauline Frederick, Dorothy 
Mackaill, Lois Wilson, and possibly 
fifty others well known to screen 
fame. The Garbo went into a thea- 
ter in Los Angeles not long ago, 
bought a ticket, walked down the 
aisle to a seat and witnessed a show- 
ing of her picture, "The Single 
Standard," without being recognized 
by a soul in the audience. She has 
done this time and again with other 
theater throngs. 

All these actresses, however, pos- 
sess that intangible something which 
reveals them as lovely creatures on 
the screen. But there are little extra 
girls in Hollywood prettier by far 
than most of the stars, but with noth- 
ing else to recommend them as ac- 
tresses. I know one who is exquisite, 
yet is comparable to the fabled blonde 
who lost her position in a five-and- 
ten-cent store, "because she just 
couldn't remember the prices." 

President Hoover is an average- 
looking American, with a good face, 
a strong face, yet, unless photo- 
graphed from certain angles, no pic- 
ture can do him credit. But in the 
hands of Ruth Harriet Louise, these 
angles were divined, and the portraits 
came from the finishing room evinc- 
ing strength and attractiveness. He 
is a nice-looking man, you will agree. 

Advertising Se< i ion 


Tkat Mystic Urge to Act 

( < mtinued from page 72 

"An actress in playing so many 
different roles, causes her inner mind 
to stir. It develops. That is why 
creative artists, such as actors, writ- 
ers, musicians, and scientists all pos- 
sess a certain occult power. 

"Through much introspection, an 
actress becomes different from the 
ordinary individual. She enables her 
inner self to stir and prompt her. 
There is a glamour around her — 
what has been called the glamour of 
the stage, hut which is really the un- 
derlying i tower she has brought to 
the surface." 

1 hope 1 have not made Miss Ulric 
sound like one of those would-be 
mystics. There are no flowing robes, 
no perfume, no incense in her sur- 
roundings. She is a normal, bright, 
and refreshing person. 

Though having had practically no 
education, she is very intelligent. 
She never passed the fourth grade 
in school, yet college graduates could 
not he expected to know all she 
knows. She speaks German and 
French as well as English. 

The usual hardships had to be 
gone through he fore she gained her 
first big success on the stage in "The 
Bird of Paradise."' Later, under the 
tutelage of David Belasco, she starred 
in "Tiger Rose." "The Son-daugh- 

ter," "Kiki," "Lulu Belle," and 

" M una." 

Pictures are not new to Miss I I- 

ric. She made several about ten 
years ago, but the stage had greater 

claims on her. However, now that 
voices are heard in pictures, I. enure 
is in the fore. 

I )o you ever take my ach ice ? Well, 
I'm glad to hear it. for I want you 
to see "Frozen Justice" when it plays 
in your city, and "South Sea Rose." 
Lenore Ulric possesses all the dy- 
namic power of a great artist. Fox 
has signed her, and she is to make 
two pictures a year. 

()!" all tlu' stage and screen celebri- 
ties I have met. she is the first one I 
know who has given acting much 
thought, and tried to study the fun- 
damental elements of her art. 

The fact that 1 have failed to git 
an ordinary interview, describing the 
star and her life, is not so lamen- 
table when one reads what I consider 
better copy. And I promise you this: 
accept this story of Lenore Ulric 
and — with the editor's permission — 
I'll see her again, after her first two 
pictures are shown, and interview her 
according to rule. In the meantime 
you can think over what the Ulric 
says, and learn why you have that 
urire to act. 

Wkat tke Fans Think 

Continued from page 107 

Picture Play in hot indignation, and 
sometimes hysteria, against an unnamed 
person, a press agent, who, by black magic 
and other means, has so swayed a world 
of perfectly sane beings that they have 
gone crazy over a gentleman who in his 
own right has no charm, artistry, or his- 
trionic ability at all ; the gentleman in 
question rejoicing under the name of Ra- 
mon Novarro. 

Is it really true? Have we hern wor- 
shiping a false god, who, hi cause his 
press agent has told us lie is good and 
that we really should like him, makes us 
swarm to places where his picture is 
shown, write him thousands of letters a 
week, swoon with rapture every time we 
so much as hear his name mentioned? 
Tut, tut, for shame ! 

Isn't it too lucky that we have such a 
stalwart brave as loan Pcrula, who, never 
having been dazzled by the glare of our 
lodestar, so sweetly and courageously 
comes forth and opens our eyes for us? 

Think for a moment. We might posi- 
tively have gone on being thrilled and 
dominated by this Novarro, thinking it 
was his handsomeness, his grace, his 
charm, that enslaved us, not knowing that 
it was his press agent all the time who 
was weaving his spell about our hearts. 

All I can say is that, to show our 
boundless gratitude to Miss Pcrula for 
rendering us this great service, we should 
all present her with a silver-plated razz- 
berry dish, and, as for those two wicked, 

vile menaces to mankind — Xnvarro and 
his agent — we should burn them at the 
stake. G. Walters. 

56 'Warren ( irove, 
London, X., England. 

More Talent for Doubling? 

Imagine criticizing Richard Barthel- 
mess ! I think thai he ought to he given 
credit for fooling every one as he did in 
"Weary River." In my opinion, it would 
he harder to have a double than to do 
the work one-elf. Mr. Barthelmess will 
probably never be seen singing in the pic- 
tures again. I hope not, for his own sake. 
Those of us who love and enjoy Mr. 
barthelmess' wonderful work in the pic- 
tures will not cease to attend the theaters 
where his pictures are shown. 

\- for his "plea lor privacy," ha -n't a 
hard-working actor a right to live his own 
life a- he wishes to live h? Barthelmess 
has an individuality all his own. He need 
not guard his reputation among right- 
minded people. Tlu' rest don't count. 
"Only a Girl of Fin 

R. F. 1). Xo. 1, 
Branford, < ionnecticut 

An English Fan's Luck. 
I want to band PICTURE PLAY a large 
|uet, a- tin- most interesting magazine 

of the screen. I've u » 1 1 one question, 

though — is Malcolm Hettinger out for 

Continued on page 112 

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post-office clerk, the bootlegger, and 
the hot-dog-stand proprietor banded 
together and put talkies in the local 
theater to keep the citizens from go- 
ing to the next town for their movies, 
shopping and speakeasies. 

Why must one listen to theme 
songs at all hours, at all theaters, on 
all radio programs? 

That's a simple question to answer. 
I wouldn't have asked it if I couldn't 
answer it. 

Take the example of RKO. It's 
an electrical company. It's the Radio 
Corporation of America. It's a mo- 
tion-picture studio. It's a chain of 
theaters. It's a radio broadcasting 
outfit. And soon it will be a song 
publisher as well. 

When RKO gets a theme song in 
one of its pictures you're going to 
hear it, believe me, whether you like 

it or not. If you go to the theater 
they get your money. If you listen 
to your radio, which might be their 
make, you hear their songs. The 
movie you see has their tunes. If 
you weaken and buy a sheet of music 
they declare a dividend. If you buy 
a phonograph record they promptly 
collect their royalty. 

Paramount has refused to let any 
of its songs be played before the pic- 
ture in which they are used is re- 
leased. And even then they make all 
radio stations turn in a schedule of 
when the songs were played, so the 
public won't get fed up and can still 
enjoy them in the theater. When the 
picture begins to die out, they let the 
song run wild and try to cash in on 
music sales. 

"This is all very bewildering," said 
the Equity member as he meandered 
through the labyrinth. 

Ske Wears tke Badge of Courage 

Continued from page 45 

achievements and failures, all are 
too emphasized, individually, for 
balance. They are too greedy for 
life. Wait, it will come to you, in 
the guise best for you. Snatching, 
grasping things means only trouble, 
and losing them." Only much 
thought and a gift for analysis could 
have taught her this truth which, with 
her disinclination to discuss personal 
intimacies, she phrased impersonally. 

"Go with the wind, once you have 
felt its quality and eased into it. 
See that little boat, with distended 
sails? It glides so easily, with the 
wind back of it. Energy spent in 
fighting is wasted ; instead of buffet- 
ing a gale, find your course and go 
along slowly." 

To a cultured mind books offer a 
blessed solace. Adventure, history, 
biography, fiction, everything. And 
she reads, of course, in Swedish, 
things whose primitive force, under 
the fogged soberness of her native 
land and the half-tones of its moods, 
is mitigated with translation. 

"But I had to slow up," she said. 
"Eyes gave out." 

If her head were amputated, she 
would mention it in just that ordi- 
nary tone. Enthusiasm is brisk for 
loved interests, but anything that hap- 
pens to herself is related in repor- 
torial conciseness. 

When her eyes permit, she sews. 
Whenever I recall the first time I 
saw her strong, large hands doing a 
bit of fancy work, it strikes me anew 

as an anomaly. Because of some 
silly tradition, we associate needle- 
work with clinging-vine femininity. 
But no doubt the vikings' ladies had 
to darn socks ! 

What now? Exquisitely embroi- 
dered linens, for a betrothed friend, 
frocks and pajama suits for herself, 
a patchwork, velvet quilt. Those 
tanned fingers ply the needle as ex- 
pertly as, years ago, they held the 
hoe which earned her passage to 
America. At eleven, in Ystad, Swe- 
den, her home, she hired herself out 
to till and harvest an acre of beets 
for the equivalent of eighty-five dol- 
lars. Later, she came to America, a 
confident Swede with pigtails like 
braided flax, and worked her way, by 
modeling for artists, to the movie stu- 
dios. Probably, in those Ystad days 
tucked into memory, she visioned 
freedom from drudgery, only to find, 
with success, that one form of toil 
merely is replaced by another. 

Indeed, she does not wish idle- 
ness, after this long siege of it. 

"Work ! It is all that I want now. 
I shan't be choosy." 

Many anecdotes attest Anna Q.'s 
bravery, the tempered steel of her. 
Once, to add realism to a forest-fire 
scene, sixty trees were transplanted 
to a location and soaked with gaso- 
line. She had to run an engine 
through. With the engineer crouch- 
ing unseen at her feet, she opened the 
throttle wide and roared the engine 
into the flames. As they licked hair 



and skin, she jabbed the man with 
her foot and screamed, "Give her 
gas!" Badly scorched, she was 
rushed to the hospital. A frenzied 
producer offered her, in magnanimity 
bred by remorse, anything she 
wanted. Through bandages she 
eyed him coldly and said, "A line 
time to say that — when I'm too 
burned and nervous to think!" 

As the sea churned its greenish 
mountains, that wind-swept morn- 
ing, I remembered her former rest- 
lessness, the molten vitality that al- 
ways undertoned every occupation, 
and saw that it had crystalized into 
a more definite course. To work, to 
excel in the talkies, to win back the 
place which she fears, unreasonably, 
that absence has cost her, to accom- 
plish something worthy of one's self- 
respect, are her present desires. 

Though still stubbornly, if not as 
violently opinionated — and her as- 
perity does not spare herself the lash 
— a new manner both of peace and 
tolerance folds her in. Once she 
quickly rebuffed intimacy, now she 
reservedly considers it ; the granite 
has melted, with a greater under- 
standing, into a mobile spirit. Her- 
self more powerful and steadied, her 
sympathy is more expansive. 

Her mental iridescence is fully as 
compelling. Brushing aside the petty 
foibles which most women make mo- 
mentous, she yet shapes her convic- 
tions less hurriedly and impatiently. 
Conventional ruts annoy her ; eti- 
quette's petty claims are stupid. One 
of such forceful character and such 
electric magnetism, who has fought 
her way, literally, from the fields of 
untutored peasant labor to success 
and associations of culture, has had 
too wide and varied and elemental ex- 
periences ever to become repressed 
by the rubber stamp, or submerged 
in unessentials. 

A test revealed her oral gifts, the 
fluency of her rich, full voice. Her 
power to define vital characters 
should be as splendid as ever. In- 
deed, her agent has had more offers 
for her during recent months than 
during her busiest years. Despite the 
theater's invasion, there is a scarcity 
of women capable of playing mature 
roles, and precious few who are al- 
ready loved by the fans. In all likeli- 
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the screen, more radiant than ever. 

The sun was spreading red wings 
over the western horizon when finally 
I turned the gas filly's nose Holly- 
woodward, reflecting upon that val- 
uable possession, an indomitable 

Now, if this were a sob story, I 
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Continued from page 34 
thirty-five cents — which was more 
than a lot of the troupe had. 1 had 
played the show on an empty stom- 
ach, but so had everybody else in the 

"Another time 1 was stranded in 
Atlanta, Georgia, which is somewhat 
farther away. Each time I got fired 
or the show busted, I learned some- 
thing from my job and, if that had 
kept up long enough, I might even 
have learned to be a good actor. Say, 
all this is damned uninteresting. 
Let's talk about something else." 

"Get on with your story. This — 
er — rootbeer is nothing but foam. 
Every time I look into my pail the 
foam has evaporated and there's 
nothing left. And, besides, you've 
gotta talk more about yourself." 

Mrs. Tryon came into the room 
bearing good tidings in the form of 
another gallon of rootbeer. Glenn 
turned to her with a grin. "Gee, 
dear, I'm just doing swell. He 
thinks I'm not talking about me and, 
honestly, I'm just bursting. 

"Well, sir, I came out to California 
from New Orleans — I think the show 
had stranded there — to see my dear 
parents and spend Christmas with 
them. I still believed in Santa Claus, 
and it seemed foolish not to let him 
visit me at home. I had an engage- 
ment in New York for a spring try- 
out, but thought I might as well win- 
ter in the land of eternal sunshine. 
Bless my soul, the day after I got 
here my father was called to another 
city, and here was I, broken-hearted. 

"I began taking my fun where I 
found it. My companions, unlike 
Buddy Rogers, had just not been 
raised right, and presently I found 
myself sojourning in Santa Ana jail 
for ten days. I got out of there and 

What a Gu>>! What a Guy! 

found there was a tent show in town 
looking for a juvenile for 'The Trail 
of the Lonesome Pine.' That was 
me. They couldn't understand how 
I got up in the part so quickly. 1 
had already played it three or four 
times, [n fact, about the only part 
in the show I hadn't played was 
June, and I'd had my eye on her in 
one production." 

"The movies," I prompted him. 
"Where and when did they come into 
your life?" 

"What a guy ! What a guy ! Well, 
this June I was talking about lived 
in a two-family house, and over her 
or under her, I forget which, lived a 
director from the Hal Roach studio. 
He thought I ought to come out and 
have a test made. 'Nix,' said I, 'I've 
seen myself on the screen, and I don't 
care particularly for that form of 
nausea. However, with a discern- 
ment I've never noticed in any one 
else, he insisted, and I made the test. 
There was talk of a contract, but 
somehow they never quite got to the 
point of signing. One day I grew 
fretful and, as it was the nurse's day 
off and there was no one around to 
give me my bottle and quiet me, I 
went down to the Western Union 
office and sent wires to a lot of 
friends. The next day, in answer to 
these wires, I received a number of 
very flattering offers — faked — from 
Eastern producers and stock com- 

"I strode into the Roach office and 
said. 'Well, good-by, pal.' 


' 'Good-by, old friend. I'm leav- 
ing. Can't turn down all these of- 
fers' — showing him the telegrams — 
'while you make up your mind 
whether you want me or not.' 

' 'Why, didn't you know ? You 
went on the pay roll yesterday.' 

"I didn't know what the salary 
was, but I thought with all these 
offers it should be doubled, so after 
a short conference and a great deal 
of haggling, it was. And that's that." 

Glenn Tryon's humor is of the 
buoyant, evanescent kind that is al- 
most impossible to capture and set 
down on the written page. It is con- 
stant and bubbling and yet, with it 
all, there is a stratum of cold, hard, 
common sense in his make-up that 
rather startles one. 

I have been in his dressing room 
when he was beset by harassed di- 
rectors seeking advice as to why cer- 
tain scenes fell flat ; by perplexed 
camera men as to the best angle from 
which to shoot other scenes to ob- 
tain a desired effect ; by gag men as 
to what could be done to pep up 
other sequences. And don't kid 
yourselves that this baby couldn't 
bring plenty of gray matter to bear 
on the subject. The grinning co- 
medium disappears as if by magic. 

Withal, he is one of the hardest 
people to interview I have tackled. 
He is such excellent company there 
is the constant temptation to forget 
all about the interview and just talk. 
And you, who only see him in 
shadow, are out of luck, because 
funny as he is on the screen, the 
camera only scratches the surface 
of his personality. I can think of 
nowhere I'd rather be on a hot after- 
noon, or any other time, for that 
matter, than in that little English 
house on the side of the hill, listen- 
ing to Glenn Tryon's chatter and sip- 
ping Mary's — -er — shall we say root- 

Continued from page 109 
good? Surely not! His interviews are 
always entertaining. I hardly ever agree 
with what he says, but I don't enjoy them 
less on that account. He avoids glue ! 

The subject of the moment seems to 
be experiences in writing to the stars, 
so maybe some of the fans would like to 
hear of an English fan's luck — or ill luck, 
as the case r-.ay be. 

Juliette Brown says that the majority 
of those she heard from complained that 
Joan Crawford and Dolores Costello do 
not answer letters. This isn't always the 
case. I have autographed photos from 
both, as well as one with a printed signa- 
ture from Dolores. 

Please, fans, remember that when you 
hurl bricks at the stars in these columns, 
you may be really hurting them — if they 
aren't past it — because some, at least, do 
read the letters. Dorothy Mackaill does, 
for one. A letter of mine was published 
about a year ago, in which there were a 
few words in appreciation of Miss Mack- 

Wkat tke Fans Tkink 

aill. A little later I received a beautiful 
photograph, autographed to me. 

Margukrite Edgelow. 
Westwood, Layter's Way, 

Gerrards Cross, Bucks. England. 

Dick's Critics Answered. 

In August Picture Play a couple of 
fans "go off the deep end" at what they 
style the Barthelmess deception — as if 
doubling for stars were a new thing. 

Did they start raving because Novarro 
and Bushman did not really drive the 
chariots in the big scene that made "Ben- 
Hur"? Or was any comment made be- 
cause Gilbert did not do any of those 
athletic stunts his doubles did for him in 
"Bardleys, the Magnificent"? 

In "Weary River" the singing of the 
convict had to be of such a quality as to 
cause a sensation ; a merely pleasant voice 
would have weakened the conviction of 
the story. In justice to Mr. Barthelmess, 
let me repeat what is now common knowl- 
edge, that he has expressed his own great 
objection to this type of picture. "I am 
not a song-and-dancc man," was his ulti- 

matum to his chief, "and I don't want any 
pictures that star me as such." 

As for Mr. Barthelmess' desire for 
privacy in his home life, that is no new 
thing with him, as Miss Huber should 
know, if she has read Picture Play as 
long as I have. Mr. Barthelmess' re- 
serve is an inherent quality for which we 
English respect him as a man as we ad- 
mire him as an actor, more and more with 
each new film. F. J. Raleigh. 

Mannamead, Plymouth, England. 

Why Spoil an Accent? 

Why should Nils Asther have to learn 
to speak English without an accent? He 
always appears in foreign roles, and an 
accent would be perfectly in keeping. I 
don't see why American actors should be 
made to assume foreign accents, when 
stars to whom they are natural are within 
call. If the producers use common sense, 
we need not fear losing our Nils and Greta. 

"E. S.," I quite agree with everything 
you say of Nils. He is darling, isn't he? 
But don't you wish he'd be given starring 

Advertising Se< 

Where are all the Richard Arlen, Betty 
Bronson, Janet Gaynor, and Greta Garbo 
fans? No one ever seems to write about 
them. Instead, every one seems to have- 
gone crazy over Gary Cooper. Why, I 
can't imagine, when Nils is around. 

Movie Fan. 

Philadelphia, Pennsylvania. 

Consider the Poor Star. 

I wonder what the young lady who 
signed herself "Horseshoes" would do if 
placed in the position of a star with a 
lot of fan mail? 

Does she know what she is talking 
about when she discusses the cost of pho- 
tographs, stamps, and secretaries? 

Certainly we pay to see the stars ; and 
our patronage pays them their salaries, 
yes. But the stars don't sit back and 
twiddle their thumbs through all this. 
They work. The movies are their liv- 
ing, just as much as though they were in 
the real estate or insurance business. 

Perhaps if "Horseshoes" ever tried to 
gather together enough photographs to 
take care of the average mail of one star, 
and enough stamps to send them, she 
would tone down her unjust anger a bit 
and realize it is not selfishness or mean- 
ness, hut good business and the necessity 
of keeping their incomes balanced that 
encourages the stars to charge for their 

F. E. W. 

Detroit, Michigan. 

Is Fiery Love Passe? 

What is Pola Negri's tragedy as an 
actress? Many a fan blamed America 
and American producers for all of Pola 
Negri's screen failures. But is it really 
fair? Did America compel Pola to ac- 
cept roles she had no sympathy for? In 
America, as in Germany, she continued 
to be an emotional actress, portraying 
with pathos the hot priestesses of the god 
of love. What Pola Negri began in Ger- 
many she continued in America, and yet 
she failed. 

What, then, is the tragedy in her 

It is in the following things : too much 
love fire, too much passion, blood, and 
flesh in the primitive thing called love. 
Such a feeling has outlived itself in life 
and could not stay long on the screen. 
People nowadays criticize more or less 
all the actions of themselves and others. 
Spiritual demands and human interests 
have changed our tastes and emotions to a 
considerable degree. For better or worse, 
nowadays one even loves with the mind. 
Look at life, at modern literature, the 
contemporary stage — docs the primitive 
Pola Negri love have a place there? 

This primitive love fire, the emotional 
way of portraying it, makes us put Pola 
Negri in the first rank of all great 
actresses of past screen traditions. 

Rosa Shpetnkr. 

Soldatskaya Str. 55, 
Krementchug, Russia. 

Kitty Finds Her Ideal. 

To my hard-tried soul the . beloved 
poet's words ring in the saddest of 
chimes, "There's nothing true ibut 
Heaven." But something, at last, has 
proven true ! The ideal — Walter Huston. 

Words cannot express my admiration 
for this interesting man — the wonder 
actor with a most pleasant, marvelous 
voice. Not only is he a great actor, but 
he is a real man, with a big soul that 
reaches the broken heartstrings and ties 
them with esteem and respect. 

Kitty Lee. 

2228 Cumberland Street, 
Vernon, Texas. 

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Dogging Lila's Footsteps 

Continued from page 48 

patient Griselda she used to lie, I 
found a smart, wise-cracking, young 
person, with very definite ideas about 
a lot of things. She even knows the 
name of the smelling salts George 
carries around with him, although 
she isn't partial to smelling salts, 
smoking being her weakness. 

"Tell me," said I, "I've heard so 
much about Mr. Barthelmess' tem- 
perament. What's he like to work 
with ?" 

"Well, I will tell you. You read a 
lot about jealousy among players, and 
all that sort of thing. I suppose this 
will sound sort of Pollyanna-ish, but 
I don't think in all the years I've been 
in the profession, I've encountered 
any of it. The engagement in 'Drag' 
was one of the pleasantest I've ever 
had. Frank Lloyd, the director, was 
lovely, and Dick is a thorough gen- 
tleman. You can see from the pic- 
ture that he was most generous. No, 
I certainly found no evidence of 
temperament, or an ugly disposition. 
I found him charming." 

And then from the vantage point 

of her twenty-four years, twenty or 
twenty-one of which have been spent 
on the stage and screen, Lila began 
to reminisce. 

"Do you regret the old days?" I 

"In a way. You naturally miss 
working with the people you've 
known, and it's nice to feel at home, 
instead of like a stranger on a lot. 
But, on the other hand, my outlook 
on life is brighter and saner than it's 
ever been. I feel surer of myself 
and, certainly, the future looks rosier. 
I'm working on my third picture 
since 'Drag,' already. The other two 
were 'The Sacred Flame' and 'The 
Argyle Case,' marking Thomas 
Meighan's return. Isn't it funny 
how these threes have followed me? 
Maybe this third time will be the 
charm and the cycle will be com- 

"Yes," I murmured, remembering 
that I was in love with her for the 
third time, "the cycle's completed all 
right." And I went hopefully into 
my third faint. 

Your Darts Strike Home 

Continued from page 43 

being of any benefit to the actor 
at all. 

"But more often than not, valuable 
pointers are gained from fan letters 
that are as helpful as they are correc- 

"Gwen Lee told me, once, that she 
learned a much better make-up for the 
camera, because a fan had commented 
on her glaring lips and eyelashes. 
Can you see the difference in the line 
of criticism? One aided a player to 
improve herself. The other merely 
succeeded in hurting, where there 
was no help to be derived. 

"The fans are also a steady barom- 
eter of the sort of picture one should 
do. An actor has a very limited and 
personal idea of his ability. The co- 
median wants to do Hamlet. The 
Hamlet wants to do comedy. In our 
hearts we really believe that we could 
be equally effective as vamps, chorus 
girls, ingenues, or leading ladies. 

"Though we very seldom have the 
opportunity to reply to a compliment 
or a criticism from the fans, you 
might tell them for me that we read 
their letters." 

We might have gone on and on 
into the interesting subject of ama- 
teur criticism, if an assistant direc- 
tor hadn't arrived on the scene with 
tidings that the sound stage was 
ready for Leila's singing test. Yes, 

she has a very nice voice, and it 
won't be doubled. 

I think it would peeve her consid- 
erably to find the remark in the fan's 
column a month or so from now that 
Leila Flyams is just another doubled 

Ever since Leila broke away from 
the protective interest of vaudeville- 
famous parents, she has wanted to 
stand on her own merits, and get 
credit where credit is due. Her in- 
dependence brought her no little hard- 
ship at the beginning of her career. 

Though she was receiving a good 
salary with the vaudeville skit, and 
could have traveled about the coun- 
try in comfort, she threw it all over 
in favor of two years of extra work 
at the New York studios. 

It wasn't long before she was play- 
ing bits and small parts, and shortly 
after that, a clever agent induced 
Leila to come to Hollywood. Thanks 
to proper management, she stepped 
immediately into leading roles, with 
Fox and Warner, and eventually with 
Metro-Goldwyn, where her most im- 
portant pictures have been "The Idle 
Rich," "Wonder of Women," and 
"Alias Jimmy Valentine," with Wil- 
liam Haines. She is married, likes 
bridge, her home, and the beach, and 
lest you forget, she never fails to 
read "What the Fans Think." 


ll. r , 

What Are tke Talkies Saving? 

inued from page K7 

And two sisters heard themselves 
speaking words of sisterly devotion 
the other day, and when the scene 
was finished, one of them yelped, 
"Well, I'll bet if she doesn't quit 
moving her feet when I'm talking, I'll 
make that Jane look like a fifty-cent 
kimono after a hard day's wash!" 

The play-back room, yon know, 
corresponds to the former room 
where rushes were shown at the end 
of the day; only in this case the play- 
ers listen to their scenes minus the 

Vernon Rickard told me ahont a pic- 
ture he was playing in for Yitaphone, 
which Bryan Foy was directing. 

"We did a scene, and when we lis- 
tened to the play-hack, we were 
dumfonnded to hear the most awful 
flood of profanity issuing from the 
horn, without knowing where on 
earth it came from," said Vernon. 

"A property man up in the flies 
was supposed to drop a bucket down 
on an actor's head. The bucket 
dropped all right. It was just then 
we heard the swearing. Finally we 
discovered it was the man in the 
flies who had done the cussing. He 
swore when he dropped the pail. 

" 'Aw, well,' he said, T could see it 

wasn't going to he a very good scene, 

anyway, so 1 knew it didn't matter if 
J did speak.' 

" 'Ladies and gentlemen <>\ the 
stage," Bryan Foy addressed his com- 
pany, 'we now have Mr. Belasco up 
in tlu 1 flies directing the scenes. 

Please pay attention to him. I fe 
knows whether a scene is any good 
or not !' " 

.And what a producer at one of die 
big studios was heard to saw over the 
play-back, about one of his stars, is 
just nobody's business ! 

Here's another funny thing ahont 
the talkies. You hear an amusing 
line and you want to laugh; hut they 
don't give you a chance. On they 
rattle. Then in a ivw minutes there's 
another line, supposed to he funny, 
and the actor waits for his laugh, 
while the house sits in deadly silence 
with never a giggle. That spacing 
for laughs is a tough business. 

But do you notice how nice all the 
actors are to each other in the talkies 
with regard to trying to push each 
other upstage? That isn't kind-heart- 
edness, my friends. That's hecause 
if an actor pushes another hack-, he 
himself gets further away from the 

Wken The)? Love Out Loud 

Continued from page 59 

"We took that scene twenty-eight 
times. Because of the exterior set- 
ting, it could not he filmed on a sound 
stage. Consequently, just as we 
were getting into the mood of the 
thing, a street car would go by (long- 
ing a hell. An airplane would hiss 
overhead. Truck drivers seemed to 
be inspired to honk just as they went 
by. Finally, when we believed we 
had succeeded in getting a fair de- 
gree of silence, an ambulance whirled 
along. Twenty-eight times Buddy 
told me he loved me. 

"The Richard Dix picture didn't 
offer much of a chance for really ro- 
mantic love scenes. The story was in 
a comedy vein, so naturally the love 
interest was light. But Richard 
should make an awfully thrilling 
sound lover." 

Because I'm just that type, I asked 
if any of the charming gentlemen 
ever became so inspired with their 
love scenes with June that they 
junked the dialogue and suhstituted 
their own ideas? 

"Heavens, no!" she gasped. "The 
director wouldn't let them. Footage 
and the running length of a scene are 
even more important in sound pic- 

tures than in silent ones. Xo matter 
what the personal feeling of the ac- 
tors — I mean their feeling for one 
another — they have to speak their 
lines and then quit. That's one way 
in which the love scenes have 
changed. Some kind-hearted direc- 
tors used to let them run on and on, 
and I bet more than one girl in pic- 
tures has had the experience of find- 
ing her own name suhstituted for 
that ot the heroine — when movies 
were silent. 

"Did you ?" T asked. 

"I'm not telling." laughed Mrs. 
Collycr's little girl. 

"But don't forget this angle," she 
added. "Remember that not all 
scenes are played between people who 
are interested in each other. Tn that 
case the dialogue is a lift' saver. 
Having certain set phrases tn speak 
covers the lack of natural inspiration, 
and no matter how hectic the finished 
scene may look to the audience, it 
was just business to the players." 

Somehow T got the idea that loving 
out loud was all right with any one, 
except the one who might have some 
ideas of bis own on the subject. Or 
am T wrong. June ? 


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Tke>> Watch Their Step 

Continued from page 90 

question is, 'Have we enough money 
to make a go of it?' Of course our 
combined salaries amount to more 
than the average couple gets, and I'm 
certainly making no secret that I shall 
assume half of the financial obliga- 
tions, at least until Buddy is more 
than able to support us both. 

"Why shouldn't I ? Why shouldn't 
any woman? Especially in this day 
and age, when women are capable of 
making as much, or more, than men? 
I think Ruth Roland said a very 
wise thing when she announced her 
engagement to Ben Bard. She said 
that money is meant to purchase hap- 
piness for a couple, and it didn't make 
any difference which one of them had 
it. Maybe back in our grandmother's 
day it was proper to wait until a 
man could be a 'good provider,' but 
that idea is out of date now. 

"I don't want to be a parasite, when 
I am capable of making my own 
money. I wouldn't feel right about 
it. Another reason is that I like to 
work, and I don't know of anybody 
I would rather work along with than 
the boy I love. I think that sort of 
experience brings a couple closer to- 

"At first we are going to have just 
a little apartment. After we have paid 
for that and our clothes, and saved 
a little for a rainy day, we'll take 

the rest to have a good time on. If 
there isn't any left," Duane chuckled, 
"we'll stay home and play bridge. 
My advice to every young married 
couple is to learn bridge. It keeps 
you out of a lot of expensive eve- 

At the same party Jobyna Ralston 
told me a little secret economy be- 
tween herself and Richard Arlen. "It 
was on the engagement ring," said 
Jobyna. "At the time I met and 
fell in love with Dick, I was making 
a great deal of money, and he was 
on a very small salary with Para- 
mount. But he had saved up a little 
money, and he wanted to spend it on 
a beautiful ring for me. I absolutely 
put my foot down. I don't care a 
great deal about jewelry, anyway, 
and I told him I would appreciate the 
cameo ring he was wearing so much 
more. So with the money he saved 
on the ring, he started our home in 
Tallica Lake. Since then Dick's sal- 
ary has mounted considerably, and 
every time he gets a raise he threat- 
ens to go down and invest in a dia- 
mond. But this ring" — she twisted 
a pretty cameo that had been in 
Dick's family for years — "means so 
much more to me than a diamond 
would. It means that we were wise 
about money at a time when we 
needed to be." 

It's Great To Be Famous 

Continued from page 83 

improvised, "Mr. Davey Lee : I saw 
you in 'The Singing Fool.' You 
wasn't so good !" 

A popular individual in Hollywood 
the past few years has been Peter 
Pan. Letters thus directed were de- 
livered to Betty Bronson. 

Numerous communications are ad- 
dressed to Silver King, the horse 
owned by the late Fred Thomson, 
and to Tony, the celebrated mount 
used by Tom Mix. Occasionally a 
communication arrives for Leo, the 
Metro-Goldwyn lion whose head is 
that company's trade-mark. Once in 
a while, too, the Pathe rooster gets a 
letter from a fan. 

Almost all these letters might be 
stamped "Returned for better ad- 
dress," when a return address has 
been given. Or they might be sent 
to the dead-letter office. But the mail 
men appear to do their best in mak- 
ing delivery. The postal authorities 
do not approve of such freak ad- 
dresses, and plainly say so. 

It is estimated that 885.000 fan let- 
ters reach Hollvwood each month, to 

be opened, and read by studio clerks. 
Those which should receive the per- 
sonal attention of the stars are sorted 

"We have, on an average, 197,000 
incoming letters each month," said 
Harvey Pugh, in charge of the mail 
room at the Paramount studio, "and 
nearly the same number outgoing. 
Many send stamps for requested 
photographs. These stamps pile up 
so rapidly we do not count them. We 
weigh them. Five hundred and thir- 
teen two-cent stamps weigh one 
ounce. These are worth ten dollars 
and twenty-six cents. On rainy days, 
or when the atmosphere is heavy with 
moisture, the stamps are dried out be- 
fore being placed on the scales. Not 
long ago we had more than seven 
hundred letters to go out by airmail. 
I weighed, the contents carefully and 
sent them to the post office, confident 
each one was under the half-ounce 
limit. Pretty soon a telephone call 

: 'Those letters you sent in,' a 
postal employee said, 'are overweight. 

Advertising Section 


You'll have to put on more post- 

" 'But they aren't overweight,' I 
insisted. 'The same matter is in each 
one of them. I checked them closely.' 

"Nevertheless 1 got the letters, and 
found that the post office was right. 
They had absorbed sufficient moisture 
to be ahove the initial half-ounce in 
weight. I placed them hefore a radi- 
ator for half an hour to dry them 
out, then the post office accepted the 
entire seven hundred as postage 

It isn't often that a letter 
astray, hut it happens sometimes. 
Nils Asther got one Erom a small 

town in the Middle West addn 

to "Niles Aster," and opened it. The 
letter contained a garage hill for 
ninety dollars, and a curt request tor 
the money. 

"You said you would pay the dam- 
tdge dun to my car," the note said. 
"Now send it on." 

Nils had never been in that vicinity 
in his life. 

Add Five Inches 
To Your Chest! 

Checking Up On Dick 

Continued from page 21 

"The only way to get rid of solici- 
tors and others is to he damn rude 
to them. They would hound you to 
death otherwise." 

Strangers heat down the hedges 
of the Arlen estate and trample over 
the lawn and introduce themselves. 

"You know, Air. Arlen, I'm just 
so crazy about you " 

"Say! Aren't those flowers just 
the most wonderful ! What are they ? 
Well, did you ever! I wouldn't 
dream of imposing upon you, Dick. 
I'm not like some of those crazy fans. 
I like to he considerate. Those flow- 
ers are certainly great. Could you 
send me some seeds? Better still, 
send me the flowers, roots and all, 
when they commence to hud. Wrap 
them up carefully, so they won't 
wilt." And so on. 

"I'm planning to have my hedges 
grow seven or eight feet high. They 
will thicken and no one can get 
through," Dick prophesied hopefully. 
"The entrance is open right now, hut 
I'm going to have a gate put on — a 
closed iron gate you can't see through 
■ — with a lock on it, so you'll have to 
use a key to come in, or go out. 

"It's not so much meeting people 
I object to, as it is to have total 
strangers trying to get into my home. 

Not long ago " Dick stopped 

again. A man walked along the 
driveway toward us. I got up and 
approached the house. Soon Dick- 
followed. "Let's go inside," he 
urged. "We'll he pestered to death 
if we remain in front." So we went 
within and sat in a cool, shady patio, 
without an insect or a tourist to an- 
noy us. 

"You know," Dick resumed, "when 
I was clown and out, not a person 
bothered to find out if I were alive. 
I mean people I knew hack home. I 
might have been dying, for all they 
cared. Yet now I am visited by 
friends of a friend of the cousin of 
the aunt of some one I knew very 
slightly ten years ago. You can't 

blame me if I don't give them a rous- 
ing reception." 

"I certainly don't. I'd send them 
to the Carriso Gorge." 

You see, as Dick points out. suc- 
cess hrings its troubles, no less than 

We went over to the Taluca Lake 
golf club and lunched. I expected 
any minute to see a stranger spring 
through one of the open Trench win- 
dows and confront Dick with praise, 
or a request, or both. But only Olive 
Borden, looking exquisite, her press 
agent and a young reporter entered, 
just as we were departing. 

Said Dick as we drove away, "I 
find that the best thing to do is never 
to worry, no matter what position 
you find yourself in. Down and out, 
or successful, each extreme brings 
troubles, so it's best to be content, 
even indifferent. 

"There's one chap you've got to 
admire — Gary Cooper. He takes ev- 
erything casually. He'll come to the 
set for rehearsals in an old suit, his 
face probably unshaved, his hair 
rumpled. Yisitors may come, but 
that means nothing to Gary. He re- 
mains indifferent and enjoys him- 
self. I think his mind is wrapped up 
more in his ranch than in pictures." 

Dick Arlen is just as natural. 
Where the average youth in pictures 
tries so obviously to impress you with 
his unassuming ways, Dick remains 
himself with much more success. 
Most of the newcomers put on an 
act. Their "boyishness" oozes all 
over them, their "simplicity" becomes 
chronic. No wonder a poor inter- 
viewer is sometimes forced to tell the 
cruel truth ! 

It is bad for the poseurs — but not 
for Dick Arlen. I have kept an eye 
on him since he began to climb. He 
has changed, as every one changes, 
but he has not become an actor in 
private life. In other words — Dick 
Arlen is Dick Arlen and a great fel- 

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A Confidential Guide to Current Releases 

Continued from page 68 

"Alibi" — United Artists. All dialogue. 
Crook picture, played and directed with 
distinction. A cop's daughter sympa- 
thizes with underworld, marries a 
crook, but is soon disillusioned in a 
thrilling climax. Chester Morris, Elea- 
nor Griffith, Pat O'Malley, Regis Too- 
mey supply high lights in action and 

"Letter, The" — Paramount. Enter- 
taining eloquence and dramatic situa- 
tions make this a milestone in all-dia- 
logue films, and bring to the screen the 
gifted Jeanne Eagels. A civilized pic- 
ture showing the wrecked lives of an 
English couple in Singapore. Stage 
cast devoid of cuties includes O. P. 
Heggie, Reginald Owen, and Herbert 

"Iron Mask, The" — United Artists. A 
picturesque tapestry, sequel to "The 
Three Musketeers," superbly exploit- 
ing Douglas Fairbanks. Story from 
Dumas revolves around the throne of 
seventeenth-century France. Marguerite 
de la Motte, Dorothy Revier, William 
Bakewell, and Ulrich Haupt. 


"Street Girl"— RKO. Singing and 
dialogue. Story of a girl found starving 
on the streets, who turns out to be the 
salvation of four musicians who be- 
friend her. Hard to believe, but prob- 
ably entertaining to majority. Betty 
Compson in the sugary role, Jack Oakie 
good as lines permit; John Harron, Ned 
Sparks, Guy Buccola. 

"Smiling Irish Eyes" — First National. 
All dialogue. Colleen Moore's first 
talkie, in which she is much better than 
the story deserves. An Irish lass lets 
her fiddling lad go to New York, and 
after a lot of transatlantic travel, they 
finally embrace over the wishing well, 
back on the ould sod. James Hall, Ag- 
gie Herring, Claude Gillingwater. 

"Say It With Songs"— -Warner. Sing- 
ing and dialogue. Al Jolson's new pic- 
ture, cut from previous patterns. A 
good deal of moviesque hocus-pocus, as 
well as sonny-boy songs, but perhaps 
you like them. Davey Lee and Marian 

"Man and the Moment, The" — First 
National. Dialogue. Talking debut of 
Rod La Rocque, opposite Billie Dove, in 
glossy, diverting society film. A gay 
philanderer marries a sheltered girl, and 
his former sweetheart makes trouble. 
La Rocque's dialogue good. Besides 
the stars, there is Gwen Lee. 

"Hungarian Rhapsody" — Paramount. 
Sound. Smoothly directed, well-photo- 
graphed film> in Hungarian setting. 
Charm rather .than wrenching moments. 
European favorites, Dita Parlo, Lil 
Dagover, and Willy Fritsch. Story of 
officer's love for girl and his career. 

"Lucky Star" — Fox. Part dialogue. 
A countryside idyl with Janet Gaynor 
and Charles Farrell, and the director is 
Frank Borzage. As pretty and as good 
as one would expect, the story being 
that of a farm girl and her crippled ex- 
soldier lover. Guinn Williams is the 
bad, bad villain. 

"Pleasure Crazed"— Fox. All dia- 
logue. Wild scramble of melodrama, 
with a cast including three important 

talkie discoveries, Marguerite Church- 
ill, Dorothy Burgess, Kenneth Mac- 
Kenna. Intrigue and adventure around 
a country estate, crooks, jewels, and 
lovers. Well-played support. 

"The Time, the Place, and the Girl"— 
Warner. All dialogue. An amusing, 
lively story from the pompadour age. 
Grant Withers makes debut in talkies, 
with honors, as victim of a stock fraud, 
but he blunders out. Every moment 
good for a laugh. Betty Compson, John 
Davidson, Gertrude Olmsted. 

"Charming Sinners" — Paramount. All 
dialogue. A mild stage play denatured 
further for the screen, with much tea 
sipping and hand kissing. A constant 
wife catches up her husband and gives 
him a lecture and makes threats, all 
elegantly set forth by Ruth Chatterton, 
Clive Brook, and William Powell. 
Mary Nolan's first talkie appearance. 

"Behind That Curtain"— Fox. All 
dialogue. Very good film, in spite of 
the mystery being revealed too soon. 
Lois Moran in audible debut. Story of 
a girl who marries an adventurer in 
London and discovers in India that he- 
is a murderer. Capital performance by 
Warner Baxter. Gilbert Emery, Philip 
Strange do well, also. 

"Broadway Babies" — First National. 
All dialogue. Backstage melodrama of 
the usual sort, with one redeeming 
sequence. Entertaining, with Alice 
White trying hard to act, and a good 
cast. Fred Kohler, as rum-running 
lover, magnificent. Charles Delaney, 
Sally Eilers, Marion Byron, Bodil Ros- 

"Mysterious Doctor Fu-Manchu, The" 

— Paramount. All dialogue. Scotland 
Yard versus Doctor Fu, with plenty 
of Oriental trimmings, develops into a 
thrilling climax. The heroine is the 
ward of the Chinaman, and the gallant 
hero one of the latter's marked vic- 
tims. Warner Oland, Neil Hamilton, 
O. P. Heggie, and Jean Arthur do well. 

"Four Feathers, The" — Paramount. 
Silent. English soldier loses his nerve 
before Sudan war, but later goes to the 
jungles to redeem himself in the eyes 
of fiancee and friends. Authentic, thrill- 
ing sequences made in the wilds, around 
which picture is cleverly built. Fay 
Wray, Richard Arlen, Clive Brook, Wil- 
liam Powell, Noah Beery, Philippe de 

"Black Watch, The"— Fox. All dia- 
logue. Pictorially magnificent film 
about English soldier on the Afghan 
front, whose mission is to win love of 
girl leader of hill tribe. Stirring epi- 
sodes, but falls short of its ambitions. 
Victor McLaglen, Myrna Loy, David 
Rollins, Mitchell Lewis, Roy d'Arcy. 

"Cocoanuts, The"— Paramount. All 
dialogue. The Four Marx Brothers 
bring their capers and humor to the 
screen, without loss of fun or individu- 
ality. Slight musical-comedy plot about 
a stolen necklace. Kay Francis, Cyril 
Ring, Oscar Shaw, and Mary Eaton. 

"Broadway" — Universal. All dialogue. 
Big in point of sets, story reminiscent. 
Show girls, wise-cracking boys, boot- 
leggers in evening clothes, with gun 
play and love-making, all finally meet- 
ing suitable rewards. Old stuff made 
tolerable by embellishments. Thomas 

.\l)\ IK l [SING Mi l ION 


E. Jackson and Paul Porcasi 01 stage 
cast, Evelyn Brent, Glenn Tryon, Rob- 
ert Ellis, Leslie Kenton, Arthur H 
man, Merna Kennedy. 

"Fox Movietone Follies of 1929"— 
Fox. All dialogue and song. Pagean- 
try of colorful revue, with wisp of 
story, and all the ingredients of a stage 
show, except a certain cleverness. 
Many well-known faces, including Site 
Carol, David Rollins, Stepin Fetchit, 
Sharon Lynn. 

"Innocents of Paris" — Paramount. 
Dialogue and singing. Debut Maurice 
Chevalier, French stage star of unique 
personality due for merited success in 
another picture. Shoddy story of waif 
befriended by junkman and hitter's rise 
to fame on stage. Astonishing per- 
formance by child, David Durand. Syl- 
via Beecher and Margaret Livingston. 

"Bridge of San Luis Rey, The"— 

Metro-Goldwyn. Part dialogue. Story 
of notable novel, faithfully brought to 
screen, with reverence and pictorial 
beauty. Frustrated, unhappy lives of 
five characters end with collapse of an- 
cient Peruvian bridge. Lily Damita, 
Raquel Torres, Duncan Rinaldo, Don 
Alvarado, Emily Fitzroy, Henry B. 
Walthall, and Ernest Torrence. 

"Desert Song, The"— Warner. All 
dialogue and singing. First operetta to 
reach screen, with solos, duets, and 
choruses of stage representation. Silly 
story, but no fault of screen's telling 
of it, but whole thing too long, there- 
fore tedious. John Boles, Carlotta King, 
Louise Fazenda, Myrna Loy, John 
Miljan, and Johnny Arthur. 

"Not Quite Decent"— Fox. Part dia- 
logue. Hard-boiled night-club queen 
discovers long-lost daughter as chorus 
girl listening to temptations of villain, 
so she exposes serpent to girl in great, 
big scene of simulated drunkenness and 
toughness. Theatric, unconvincing, but 
tolerably interesting. Louise Dresser, 
June Collyer, Paul Nicholson, and Allan 

"Show Boat" — Universal. Part dia- 
logue. Life aboard a river theater 
traced on a wide canvas. Stirring musi- 
cal accompaniment, but well-known 
story does not gain in film version. 
Laura La Plante, Joseph Schildkraut, 
Emily Fitzroy, Alma Rubens good. 

"His Captive Woman"— First Na- 
tional. Part dialogue. Dorothy Mack- 
aill at her best, opposite Milton Sills. 
Silent episodes on charming island, 
where love blossoms. Murder trial with 
surprising sentence. Beautiful photog- 
raphy, excellent acting. 

"Christina" — Fox. Silent. Quaint, 
pretty, though sirupy, picture, with 
Janet Gaynor as Dutch girl, and 
Charles Morton her circus sweetheart. 
Troubled love, but certain to turn out 
right from the first. Rudolph Schild- 
kraut, Lucy Dorraine. 

"Lady of the Pavements" — United 
Artists. Old screen friends in new trap- 
pings, but familiar situations. A haughty 
countess, Jetta Goudal, spurned by her 
fiance, counters by making him fall in 
love with a cafe girl, Lupe Velez, picked 
up and made a lady overnight. The 
affair gets out of hand, the girl flees, 
and the lover follows. William Boyd is 
the man. Lupe sings and sings. 

"Noah's Ark" — Warner. A spectacle 
of more eye than ear interest, unsur- 
passed in its Deluge scene. Modern se- 

quences culminating in a hopeless tan- 
gli in the World War, which Fadi 
the biblical sequences, where the same 
characters appear. O'Brien, 

Dolores Costello, Guinn Williams, Noah 

Romantic, po- 
of .-inn's untir- 
innocenl country 

"River, The"— Fox. 
etic, and slow picture 
effort to win an 

lesn't know what it - ai 
about. .Ma: nificenl backgrounds " 
est and stream and besl acting of 
Charles Farrell's career. Mary Duncan 
unusual as persevering siren finally sub- 
limated 1>\- love. 



"Fast Life"— First National. All dia- 
logue. A hollow story, topheavy with 
theatrics and bombastic talking. Melo- 
dramatic situation in which the gov- 
ernor's son, Chester Morris, hesitates to 
confess a murder and save his friend's 
life. Other players John St. Polis, 
Douglas Fairbanks, Jr., Loretta Young. 

"Melody Lane" — Universal. Songs 
and dialogue. This feeble imitation of 
"The Singing Fool" is the vehicle for 
much crooning after the manner of a 
past age and an old-fashioned story. 
Eddie Leonard, Huntly Gordon, Joseph- 
ine Dunn. A baby girl is the inspira- 
tion of the singing. 

"Twin Beds"— First National. All 
dialogue. A moth-eaten farce in which 
an inebriated stranger wanders into the 
bride's bedroom and things have to be 
explained before happiness sets in. 
Patsy Ruth Miller is charming as the 
bride. Jack Mulhall, Armand Kaliz, 
Gertrude Astor, Zazu Pitts. 

"Thunder" — Metro-Goldwyn. Silent. 
The trials of a veteran engineer who 
suffers from a schedule complex are 
portrayed by Lon Chaney. The climax 
comes with hauling a relief train to 
flood sufferv.'s over a submerged track. 
Too much detail. James Murray fine. 
Phyllis Haver and George Duryea. 

"Wheel of Life, The"— Paramount. 
All dialogue. Action revolves slowly, 
and by coincidence. Heavy efforts to 
dodge love in India, that hotbed of ro- 
mance, until a stray bullet paves the 
way. Richard Dix a very un-English 
Englishman, and Esther Ralston does 
not gain by speeech. 

"Drag" — First National. All dialogue. 
Richard Barthclmess at low ebb, in 
story about a country newspaper editor 
whose in-laws are a "drag" to his ca- 
reer, until he finally returns to the city 
and his first love. Alice Day, Lila Lee, 
Lucien Littlefield, and Tom Dugan. 

"Father and Son" — Columbia. All dia- 
logue. Artificial plot and dialogue, the 
sweet, sweet palship of father and .-on 
all hut wrecked by fortune-hunting step- 
mother. A homemade phonograph rec- 
ord saves the day. Jack Holt, Micky 
McHan, Dorothy Revier, Wheeler Oak- 

"Idle Rich, The"— Metro-Goldwyn. 
All dialogue. Story of conflict between 
young millionaire and his stenographer- 
wife's poor family, in realistic comedy. 
Poor recording and photography, but 
good acting. Bessie Love, Conrad Na- 
gel, Leila Hyams, Robert Oher. lames 
Xeil, Edythe Chapman, Paul Knu er. 
Kenneth Gibson. 

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Advertising Section 



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Write for 50 Sets St 

Information, Please 

Continued from page 102 

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Polly Allen. — Yes, indeed, you may 
correct me ! Any one can — and sometimes 
does! If there's a Gary Cooper club, 
that's just dandy — but I was never noti- 
fied, and unfortunately you don't tell me 
who is in charge. The leading man in 
"What Price Beauty?" was Pierre Gen- 
dron. Eugene O'Brien is in vaudeville. 

M. T. S. — Much as I like to he oblig- 
ing, it is asking too much to expect an 
answer in "the next issue." In fact, it's 
asking a miracle. A magazine requires 
about three months for printing and dis- 
tribution. Ken Maynard was born in 
Mission, Texas, July 21, 1895. He went 
to a military school in Virginia, and then 
became a trick rider in circuses and Wild 
West shows. He was a featured rider 
in Barnum & Bailey and Ringling Broth- 
ers circuses in Los Angeles, before start- 
ing his film career in December, 1922. 
He married Mary Deper, August 18, 1925. 

N. R. Whipple. — Fannie Brice has been 
making a film at United Artist studio. 
I think Davey Lee could be reached 
through Keith-Orpheum, Los Angeles. 
"Snookums" is with Universal ; his name 
is Sunny McKeen. Farina is really a col- 
ored boy, named Allan Hoskins, and he 
works at the Hal Roach studio in Culver 
City, California. Magnolia's mother in 
"Show Boat" was played by Emily Fitzroy. 

Mildred LanDeo. — Yes, I might as well 
have all those questions in one gulp and 
get them over with ! Charles Rogers has 
an elder sister who is married. I think his 
parents live in Olathe, Kansas. Nancy 
Carroll is twenty-three and separated from 
Jack Kirkland, her husband. Ronald Col- 
man is thirty-eight, married, but does not 
live with his wife. Alice White is twenty- 
two and unmarried. Answers to your 
other questions are included elsewhere in 
this department. 

Marathon.- — If I answer your questions, 
you'll know I'm good? I don't want peo- 
ple to know I'm good ; they'll expect too 
much of me. Renee Adoree — Renee de 
la Fento — was born in Lille, France, Sep- 
tember 1, about 1901. Five feet one, 
weight 107. Blue eyes, dark hair. Mar- 
ried June 27, 1927, to William Sherman 
Gill ; recently divorced. Richard Arlen 
— Richard van Mattimore — was born in 
Charlottesville, Virginia, September 1, 
1899. Five feet ten, weight 160. Blue 
eyes, brown hair. He married Jobyna 
Ralston January 28, 1927. George K. 
Arthur was born in Aberdeen, Scotland, 
January 27, 1899. Height, five feet six, 
weighs 135. Brown hair and eyes. His 
w T ife is Melba Lloyd, a sculptress. They 
were married in 1922. Jean Arthur — 
Gladys Green — was born in New York, 
October 17th — year not given. Height 
five feet four, weight 116. Hazel eyes, 
brown hair. Divorce pending from Julian 
Ancker, whom she married in July, 1927. 
Nils Asther was born in Malmo, Sweden, 
January 17, 1902. Height, six feet one 
and a half, weight 165. Hazel eyes, brown 
hair. He's divorced, but I don't know 
from whom. Mary Astor does not give 
her birthdate, but it's about 1906. The 
big event occurred in Quincy, Illinois. Her 
real name is Lucille Langhanke. Height, 
five feet six. Auburn hair, brown eyes. 
She married Kenneth Hawkes February 
23, 1928. Jean Ackerman is a show girl, 
not in movies as far as I know r . And 
who is Gurla Andre? Are you cata- 
loguing the A's? 

Ramon's Fan.— Yes, I have met Ra- 
mon ; he doesn't seem conceited at a'l. 
Perhaps a little naive. Yes, he's among the 
ten most popular stars. I didn't happen to 
notice the box-office returns of "The 
Pagan" or "The Flying Fleet." 

Curiosity Ruth and Curiosity Ethel. 
—And that doesn't tell the half of it? 
Am I supposed to turn over the whole page 
to your questions? You'll find all those 
dozens of life stories you ask for given 
here from time to time. Greta Nissen is a 
Norwegian actress. A girl named Eva 
Olivotti sang Laura La Plante's songs in 
"Show Boat." Rin-Tin-Tin made pictures 
for years ; some of his films were "Below 
the Line," "Clash of the Wolves," "The 
Night Cry," "Dog of the Regiment," "Jaws 
of Steel," "Rinty of the Desert." Malcolm 
McGregor was born on October 13th ; 
William Collier, Jr., on February 12th. 
James Ford and Doug, Jr., are both First 
National players. Anita Page's real name 
is Anita Pomarcs. Others you ask about 
use their own names. 

Another Garbo Fan. — No wonder 
Garbo is such a cool person, with all those 
fans ! Billie Dove's real name is Lillian 
Bohny. She was born in New York. 
Write to Greta Garbo at M.-G.-M. studio 
for her picture. "Little Women" was pro- 
duced on the screen about ten years ago. 
Perhaps Betty Compson wears her hair 
fuzzed because she likes it that way. 

C. S. and A. S. — Well, C. S., you win. 
There is a film called "Mademoiselle from 
Armentieres," an English picture released 
here last year. Estelle Brody and John 
Stuart played the leads. I don't know of 
any film called "Murdered Millions," but 
there may be some old-timer like that. 
Gary Cooper was born May 7, 1901. Wil- 
liam Powell is divorced from Eileen Wil- 
son. He doesn't give his home address. 

Margie. — Not the Margie? Not the one 
the song was written about a few years 
ago? There was an article about Richard 
Barthelmess in Picture Play for Sep- 
tember, 1928. He has several fan clubs : 
would you like the address of the one in 
Brooklyn? That's Ethel Milner, 1303 
Dean Street, Brooklyn, New York. 

Josiana Bernay. — Such a nice letter, 
even if it was written in pencil ! You'll 
be glad to know that your favorite, Ralph 
Forbes, has been signed by First National, 
and is playing opposite Corinne Griffith 
in "Lilies of the Field." I don't know 
why you complain that you haven't seen 
him much since "Beau Geste" — didn't you 
look? He played in "Mr. Wu," "The 
Enemy," "Trail of '98," "The Latest from 
Paris," "The Actress," "Under the Black 
Eagle," "The Whip," "Reckless Youth," 
"Masks of the Devil," and "Green God- 
dess." Isn't that enough? Both Ricardo 
Cortcz and Rod La Rocque reached the 
movies via the stage. Yes, Alma Rubens 
is Ricardo's first wife. It's true she is 
very ill, and is not yet well enough to ap- 
pear in pictures. 

A David Rollins Fan.- — And he has 
man}' more ! He was born in Kansas City, 
Missouri, September 2, 1909. He began 
in pictures as an extra in 1926. David's 
new films are "Meal Ticket" and "Listen 
to the Band.' - Did you see the story about 
him in Picture Play for Noveriber? 

Eleanor Martin. — For once I refuse 
to stand corrected ! You chide me for 
saying some months ago that Buddy Rog- 

ci- was twenty-four and, in the same issue, 
giving his birthday as August 13, 1904— 
which, you say, make- him twenty-six this 
fall. Where's your arithmetic — it makes 
him twenty-five. Robert Armstrong was 
horn in Saginaw, Michigan, November 20, 
1896. That'.- his real name. Myrna Loj 
is American, of Scotch- Welsh-Swedish de- 
scent. Edward Nugent was born in New 
York City, but doesn't say when. I 
are countless English star- in pictures- 
Ronald Colman, ("live Brook, Victor Mc- 
Laglen, Ralph Forbes, H. I'.. Warner, 
Percy Mann. mt, and many Other actors. 

Genevieve A. Lahrieux-Loudance. — 

Yes, I'll keep a record of your Lois Moran 
Club, though we don't announce them in 
PicTfRE Play unless some one asks about 
them. I'd be delighted to accept your in- 
vitation as honorary member, as long as I 
don't have to write any letter- ! 

Therall E. Fourt.— I'll refer John 
Holes' fans to your club. 

Statement of the Ownership, Manage= 
ment, etc., required by the Act of 
Congress of August 24, 191'2, of 
PICTURE PLAY, published month= 
ly, at New York. N. Y., for Octo= 
ber 1, 192!). 

State of New York, County of New York (*«.) 

Before m<>, a Notary Public, in and for the 
stair and eountv aforesaid, personally ap- 
peared U 'ge C. Smith, who. having 1 n 

duly sworn according to law, deposes and says 
that he is \iv President of the Street & 
Smith Corporation, publishers of PICTURE 
l't.AV, and that the following is to the best 
of his knowledge and belief, a true state- 
ment of the ownership, management, etc., of 
the aforesaid publication for the date- shown 
in the above caption, required by tin- Act of 
August 24, 1912, embodied in section 411, 
Postal Laws and Regulations, to wit : 

1. That the names and addresses of the 
publisher, editor, managing editor, and busi- 
ness managers are: Publishers, Street & 
Smith Corporation, 79-89 Seventh Avenue, 
New York, N. V.: editor, Norbert Lusk, 7!) 

Seventh Avenue. Xev. York. X. V.: managing 

editors, Street & Smith Corporation. 79-89 
Seventh Avenue. New York, X. Y. : business 
managers, Street. & Smith Corporation, 79-89 
Seventh Avenue, New York, X. Y. 

2. That the owners are: Street & Smith 
Corporation, 79-89 Seventh Avenue. New- 
York. X. Y.. a corporation composed of Or- 

niond C. Smith. 89 Seventh Avenue. Xew 

York. N. Y. ; George C. Smith. s:t Seventh 
Avenue, New York. N. Y. : George C. Smith, 

Jr.. Js'.l Seventh Avenue. XeW York. X". Y'. : 

Cora A. Gould, 89 Seventh Avenue, New- 
York. X. Y. : Ormond V. Gould, 89 Seventh 
Avenue. Xew York. X. Y". 

3. That the known bondholders, mortga- 
gees, and other security holders owning or 

holding 1 per cent or more of total amount 
of bonds, mortgages, or other securities are: 

4. That the two paragraphs next above, 
giving the names of the owner-, stockholders, 
end sacurit; he 1.1. r ■.-.. if an? contain n< t nly 

the list of stockholders and security holders 
as they appear upon the hooks of the com- 
pany, hut also, in cases where the stockholder 

or security holder appears upon the hooks of 
the company as trust >r in any other 

fiduciary relation, the name of the person or 

corporation tor whom such trustee is acting, 
is given : also that the said two paragraphs 
contain statements embracing affiant's full 
knowledge and belief as to the circumstances 

and conditions under which stockholders and 
security holders who do not appear upon the 
books of the company a- trustee-, hold Stock 
and securities in a capacity other than that 
of a bona fide owner, ami this affiant has no 
reason to believe that any other person, as- 
sociation, or corporation has any interest di- 
rect or indirect in the said stock, honds, or 
other securities than as SO stated by him. 

GEORGE! C. SMITH. Vice President. 

Of Street & Smith Corporation, publishers. 

Sworn to and subscribed before me this 

1st day of October, 10211. r>e Witt C. Y-Mt 

Valkenburgh, Notary Public No. 7t. New- 
York Count v. (My commission expires March 
3", 1930.) 

Advertising Section 

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The Exciting Romances and Adventures 
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On the newt stands the first Friday of every month 

A re I 

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MAYNARD D. SMITH, President 

J. E. FRAWLEY, Managing Director 

They speak your 

There was a time when you had to take an interpreter 
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■ - 

William Fox 


- and did, tneu teucfi trie 
fiqfi sp oU ? WOW/ 

^f MORT 


-where "Pike" Peters 
met Claudine, the 

gold-digging grisctte. 


as "Pike" Peters, saw everything that Paris 
had to show — and that's an eyeful. At the 
Folies-Berge're he shouted "Pike's peek or 
bust." He paixed and paixed at the Cafe 
de la Paix. Ooo-la-la-la! 

At Notre Dame, he spent all day looking 

for the hunchback and thought a chapeau 

was a place to live. He was gold-digged from 

Montmartre to the Latin Quarter, which he 

• thought was two bits in Roman money. 

America's favorite comedian and most 
natural talking picture actor is a riot in this 
hilarious comedy of a newly rich American 
family who tried to crash Parisian society. 

Go to Paris via this all-talking Fox Movietone of 
Homer Croy's novel, dramatized by Owen Davis. 

directed by FRANK BORZAGE 

de CtlCHV 

Claudine's apartment where 

Mrs. Peters went to find Pike. 

_where Mrs. Peters 
mc . the Matqtm de 

L l ,r*s«Me title for her 
unmarried daughter. 



• """"en,. 


§<< ©a. 

P 'kr h 



Picture Play 

Volume XXXI 

Contents for November, 1929 

Number 3 

The entire contents of this magazine are protected by copyright, and must not be reprinted without the publishers' consent. 

What the Fans Think 8 

An open forum for and by our readers. 

"His Glorious Night" 15 

John Gilbert and Catherine Dale Owen give a glimpse of their new film. 

Their Actions Speak Louder Than Words . William H. McKegg 

The "geniuses" of Hollywood act off the screen as well as on. 

The Battle of the Accents .... 

An amusing discussion of speech on the screen. 

Oh, Davie, Behave! 

David Rollins evokes the admonition. 

Come On, Let's Sing 

The stars are accompanied to their music lessons. 

Over the Teacups ..... 

Fanny the Fan's inimitable chatter. 

Back Home — and Happy .... 

Tom Mix joyfully rejoins the circus. 

Elsi Que 

Samuel Richard Mook 

Elza Schallert 

The Bystander 

Helen Klumph 

Margaret Reid 


Bill Powell— As He Is 

A searching resume of William Powell's career and character. 

Favorites of the Fans 

Full-page portraits in rotogravure of eight. 

Irene Is Made Over Myrtle Gebhart 

Miss Rich comes back to the screen transformed. 

Dance, Baby, Dance! . . . . . ... . . . .44 

Elliott Nugent and Phyllis Crane illustrate some snappy, new steps. 

Calm As the Night William H. McKegg . 45 

Marguerite Churchill's first interview. 

He Dug His Way In Helen Louise Walker . 47 

You'd expect that of Guinn Williams, wouldn't you? 

Hollywood High Lights Edwin & Elza Schallert 50 

News and gossip of the cinema colony. 

That Nameless Something 54 

Kay Francis illustrates it in her manner of wearing clothes. 

Freddie For Keeps .... 

Fredric March decides to stay in the movies. 

Hollywood's Nine O'Clock Girl . 

She's Anita Page. 

Continued on the Second Page Following 

Helen Louise Walker . 55 
. Myrtle Gebhart . • .56 

Monthly publication issued by Street & Smith Corporation, 79-89 Seventh Avenue. New York City. Ormond G. Smith. President; George C. Smith, Vice 
President and Treasurer; George C. Smith, .Jr., Vice President; Ormnnd V. Gould, Secretary. Copyright, 1929, by Street & Smith Corporation. New 
York. Copyright. 1929, by Street & Smith Corporation, Great Britain. Entered as Second-class Hatter, March 6. 191U, at the Post Office at New York. 
N. Y.. under Act of Congress of March [i. 1879. Canadian subscription, $2.86. Foreign. $3.22. 




We do not hold ourselves responsible for the return of unsolicited manuscripts. 

l:iliillllll!l!!llillll!liil!IIIIIIM IIL! 

Advertising Section 


on the Talking Screen! 

OU'VE heard them on the radio. You've laughed your 
head off at their phonograph records. Now hear them real 
as life in one of the funniest, most thrilling ALL-TALKING 
entertainments ever screened! It has everything; a million 
laughs, sensational new song hits, pathos, tense drama, 
grand singing and dancing. Don't miss it — he an "early 
bird" yourself and make a date now to see and hear 




A Paramount All-Talking, Dancing, Singing Hit of The 
New Show World. Directed by George Abbott. Story by 
Octavus Roy Cohen. With Evelyn Brent and Harry Green. 
**If it's a Paramount Picture it's the best show in town!" 

(paramount j| (pictures 

Contents — Continued 

The Stroller . 

Pungent comment on the idiosyncrasies of Hollywood folk 

A Confidential Guide to Current Releases 

Timely tips on pictures now showing. 

The Screen in Review ..... 

Our critic gives his opinion of the new films. 

What's This? 

Well, see for yourself. 

To Him Who Waits 

Paul Page practiced patience to get into the movies. 

She Couldn't Kid Herself . . . . 

Now Dorothy Mackaill doesn't try. 

Her Five Gifts 

Doris Kenyon's full life employs them all. 

Modern Muses 

Photographs of beautiful girls who typify them. 

He's a Soft-boiled Egg 

It's a compliment, and Victor McLaglen merits it. 

Are Censors Human? ...... 

Some funny observations prove otherwise. 

The Chorine Comes to Stay .... 

Singing pictures give the chorus girl a new field. 

Easy Come, Easy Go 

Interesting recollections of some fluctuating careers. 

Information, Please 

Answers to readers' questions. 

Neville Reay . 

• • • • • 

Norbert Lusk 

• • • • • 

William H. McKegg 
Myrtle Gebhart 
Aileen St. John-Brenon 

• • • * • 

Alma Talley . 
Elsi Que 

H. A. Woodmansee 
Willard Chamberlin 
The Picture Oracle 



STINGY?" you say. "Why, I thought stars just rolled in money 
and spent it lavishly. They always provide generously for 
their parents, and don't their parties cost a lot?" 

Yes, they invariably look after their parents as successful 
sons and daughters should. And when they entertain their friends, 
they usually do it nicely. But there's another side of the question, 
and there are some stars who are far from careless with their money. 
Some, indeed, watch their dollars so carefully in ordinary expendi- 
tures, that they have earned the reputation of being poor spenders, 
of being — excuse the word — tight. This anomalous state of affairs 
among persons whose incomes are huge is as surprising as it is re- 
vealing. And the instances of economy, of downright stinginess, 
are still more surprising and revealing. 

They have been collected and recorded by Edwin Schallert, 
whose article in December PICTURE PLAY will cover the subject 
in his usual thorough fashion and will entertain you all the way. 


ON the other hand, Helen Louise Walker will discuss the opposite 
side of the question in the same number. She has discovered 
amazing instances of generosity, of gentle — though costly — sym- 
pathy among the stars who tide over their less fortunate cowork- 
ers during lean periods, and who say nothing about it. She will 
tell of the star who was approached for a loan twenty-three times 
in one day. When you know the identity of this star you won't need 
to be told how he responded! 

These two leading articles are characteristic of the entire con- 
tents of PICTURE PLAY, and its policy of fairness, of throwing 
new light on subjects and personalities, of being entertaining always. 

And while you're about it, make a note to look for Myrtle Geb- 
hart's story of Anna Q. Nilsson in the same issue. In our opinion, 
it is one of her best. Renee Adoree's colorful career and unusual 
character will be the subject of another of Margaret Reid's brilliant 
analyses and — but there's hardly a star you won't learn something 
new about in December PICTURE PLAY. 


Advektising Section 


, IIIIIl ''llilliwiJ 

re creates 

OOliW l»I««f Eft Stf* 



Hear those spark- 
ling song hits: "Tip 
Toe Through the 
Tulips," "Painting 
the Clouds with 
Sunshine," "In a 
Kitchenette" and 
•"Go to Bed." 


Picture a profuse procession of revue spectacle 
scenes in amazing settings . . . superbly staged 
chorus dancing numbers ... the flashing wit of 
Winnie Lightner ... the charm of Nancy Wei ford 
• . . the astounding dancing of Ann Pennington 
. . . the crooning of Nick Lucas . . . love scenes as 
only Conway Tearle can play them ... a story 
that had New York gasping and giggling for one 
solid year . . . and you have only begun to imagine 
the treat that is in store for you. 



You see and hear Vitaphone on/a in Warner Bros.W First National Picturcf 

Wkat the Fans Tkink 

New Light On Photo Question. 

HAVING read complaints of fans concerning the 
photo question, I should like to side with the 
stars for a moment, and try to show certain 
irritated fans that there are two sides to this "Who gets 
the quarters ?" situation. 

It is unfortunate that certain fans should have placed 
such an unpleasant slant on the situation as S. Haigon, 
of Rhode Island. I must confess that it is very dis- 
illusioning not to receive a photo from a player one 
admires, and when the usual quarter fails to hring re- 
sponse one can hardly blame a fan for becoming angry. 

Yet aren't we a little too hard on the players them- 
selves? Isn't it quite possible that they never receive 
our quarters? Isn't it quite probable that the money 
remitted for photos goes into the pockets of the com- 
panies to whom our favorites are under contract? Isn't 
it feasible that a very popular screen star cannot, under 
any circumstances, read all his, or her, fan mail ? Isn't it 
credible that a player of the type, say, of Nils Asther, 
coming as he does from a foreign land, is not really 
interested in fan mail? Of course the fans think this is 
rank ingratitude : 'Ah, yes, how could the dear fellow 
ever forget his beloved public !" But does not "his 
beloved public" forget him when he begins to lose his 
box-office appeal ? It does — and how ! Isn't it logical 
that the missing quarters get lost once in a while? And, 
on the other hand, isn't it from the disappointed fan that 
we invariably hear? I know one fan who has sent 
quarter after quarter to screen players, and has never 
once been disappointed in not receiving a photo. But do 
\vc read her letter and the letters of the many others 
whose relations with screen people have been equally 
happy ? Only sometimes ! 

Of the letters which we fans write to Hollywood, per- 
haps one fourth ever reach the players themselves. Have 
wc a right to blame the stars, therefore, for faults of 
which they are not guilty? 

But, you say, if the players don't receive letters, why 
don't they make arrangements whereby their mail will 
be given sufficient care? The answer to this is found 
in several reasons. For one, there are players who don't 
give a tinker's dam what the fans think of them. Isn't 
the box office a truer barometer of an actor's financial 
worth than the letters from so-called admirers, who 
are merely collecting photographs ? For another reason, 
there are players who are simply neglectful, even as you 

and I are neglectful, and forget to answer the letter that 
came last week instead of giving it our immediate atten- 
tion. But, of course, in a star neglect is a sin. In fact, 
almost anything which isn't an absolute virtue is. For a 
third reason, despite the fact that certain players have 
made arrangements for the care of their mail, that mail 
is not given the right attention. Have you ever hired a 
man to do a certain bit of work, only to find it un- 
touched the moment your back was turned ? Well, fans, 
use your heads and parallel the two cases. 

For still another reason, there are players who have 
been bitterly disillusioned by the ofttimes insincere adu- 
lation of the fans. Players who have come back and 
who know what it is to be forgotten for months at a 
time, with not a fan letter in the mail box. Can you 
blame them for failing to be thrilled to the skies over 
the raving of Polly Pickens, of Pepper Corners, Iowa? 
And then there are the stars who have been tricked into 
a hundred compromising situations by "phoney" letters, 
stars who have become thoroughly disgusted by the 
strange behavior of their so-called fan friends. Do you 
censure them for lack of interest in their mail? Come 
on, fans, wake up! Don't be so unfair to the poor 
players. They have their side of the story, and it's quite 
as logical and credible as yours. 

There seem to be people who take a morbid delight in 
trying to destroy the illusions which the fans have built 
up and which give so much genuine happiness to those 
who dream of the romance that only the screen can give. 
It appears to be the thing for Hollywood fans to do 
their best to debunk stars when they write to the maga- 
zines. The recent letter of Kit Leyland is a superb 
example of this sort of rubbish. We don't say that Mr. 
Leyland isn't absolutely correct in the information which 
he so kindly offers, but we should like to know his mo- 
tives in attempting to shatter the dreams which many 
fans have no doubt cherished. For, no matter how 
sophisticated we may think ourselves to be, there is 
much of the dreamer in each of us. Mr. Leyland looks 
down upon the stars so successfully that we suggest he 
fake a fling on the screen himself. 

In closing, I should like to say a word in favor of 
Picture Play's editor and reviewer, Norbert Lusk. 
I have seen his name mentioned only once or twice in 
this department, but he deserves commendation for his 
sound judgment and delightful side-remarks. And, 
Continued on page 10 

Advertising Section 

No alibis now for 

not learning to play ! 


« TO 

ON* 4 


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City State 


Continued from page 8 
thanks, Mr. Lusk, for that wholly compe- 
tent and charming review of Novarro's 
"The Pagan"! Richard E. Passmore. 
Media, Pennsylvania. 

Miss Compson's Loss. 

A certain star has got my Irish up, and 
I'm telling the world I don't like Betty 
Compson. She was one of my favorites. 
But after reading her life story, I think 
she is the most conceited, selfish person 
I ever heard of. 

She says her father was dying with 
tuberculosis, but she wouldn't go near him 
because she was afraid of contracting it! 
Afraid of marring her perfect beauty! 
She says she has always known she was 
beautiful. She was ashamed of her par- 
ents, because they ran a grocery store 
and later a boarding house, although 
they were, she admits, doing it for the 
money to educate her in music. She can't 
stand children. When her father died she 
was glad, because then she was no longer 
a grocer's daughter. 

There won't be any more of my quar- 
ters buying tickets to see her. Some of 
the fans will probably say "Her private 
life is her own affair." That's true. Why 
doesn't she keep it out of print, then? 
Every magazine you pick up has some- 
thing about the lovely Betty Compson, 
but I don't believe she'll be popular long. 
I don't suppose Miss Compson cares about 
my opinion, or that of any of her fans, 
but I know many people with the same 
opinion. Unless she wants to lose more 
admirers, I advise her to stop making her 
real self known to the public. 

Mrs. C. B. Matlock. 

Waco, Texas. 

Mercy! Buddy Conceited? 

Until I read that most egotistical in- 
terview that appeared in August Picture 
Play, I had always liked Buddy Rogers, 
but he will never get any place tooting 
his own horn, so to speak. Yes, of course 
we are interested in his love affairs, mu- 
sical aspirations, et cetera. However, was 
it necessary for Buddy to say, "Valentino 
only got 16,000 letters a month, while / 
get 2.3,000"? 

Another objection. Buddy says he won't 
get married, because his fans won't let 

Why, my dear child, no one cares what 
you do in private life, for we don't know 
that side of you anyway. All we are in- 
terested in is the pictures you make, so go 
ahead and get married and don't worry 
about your fans 'becoming peeved, because 
we. all know we haven't any chance in 
capturing you, anyway. 

However, I don't wish to throw too 
many bricks, as I admire Buddy's acting 
very much and, after all, that's all that 

For Heaven's sake, Buddy, don't get 
any more conceited, or I know one less 
fan for you. Lucy B. 

Lansing, Michigan. 

Miss Pickford's Accent False? 

Personally, I like the fans who knock 
the movies. That sounds pretty bad, but 
you do get so much help out of seeing 
others find fault with the stars. 

And now /'// do some knocking. How 
on earth could any one pick Mary Pick- 
ford for Southern dialogue? If that once 
adored favorite had any touch of the fa- 
mous Southern drawl in her voice — then I'm 
from Mars. When the lamb was shorn then 
— well, in plain English, Mary Pickford is 
all up withJme. I'm looking right now at 
a picture of her and her wonderful curls. 

Wkat tke Fans Tkink 

How could she part with them? Having 
lived in Georgia all my life and only re- 
cently come to North Carolina, I know all 
about the way real, honest-to-goodness 
Southern people talk. There are many 
who will agree with me. I heard some 
one rightly say that the cast in "Coquette" 
sounded, when they spoke, like a crowd 
of old-time negroes, or a band of back- 
woodsmen. If refined Southern people 
ever spoke like that, or ever will, let me 
be dead when they do. 

They say Mary Pickford is all worked 
up over her triumphant success in "Co- 
quette." Jove! people are peculiar. If 
she only knew the feeling, the thought, of 
the people who live in the setting of her 
"successful" film! 

Nan Chauncey. 

Greensboro, North Carolina. 

Buddy Topples — Billy Rises. 

Until now Buddy Rogers has been my 
ideal. Before reading the interview with 
Buddy in August Picture Play, I had 
always thought him a sweet, unassuming 
youth, and surely not one to toot his own 
horn. Imagine my amazement, then, on 
discovering the erstwhile modest Buddy 
to be somewhat of an egoist. 

In the first place, he made a catty re- 
mark about Charlie Farrell. Indeed, I 
have seen none of Buddy's pictures win- 
ning the gold medal as Farrell, a com- 
parative newcomer, aided in doing for 
"Seventh Heaven." 

And then again, Buddy compares his 
fan mail to that of Valentino. He should 
remember that Rudy had only the silent 
screen as his medium, while Buddy has 
the advantage of winning many admirers 
by virtue of his full, rich voice. 

Perhaps I have misconstrued Buddy's 
statements. I rather hope I have. I re- 
alize that Buddy has much to be proud of 
— youth, looks, and success. But he might 
be a -little more subtle when he compares 
himself with others. 

Right now William Haines replaces 
Buddy Rogers on my favorite's throne. 
Dolores Vasholz. 

Kansas City, Missouri. 

Won't Some One Defend Alice? 

It was unnecessary for me to sit 
through any picture twice to discover that 
Alice White cannot act. I saw her just 
once, and such agony I never want to 
suffer again. It doesn't speak much for 
the intelligence of the fans if there is any 
demand for her picture. I can't under- 
stand her popularity at all, although there 
may be a certain class of people who en- 
joy seeing her. 

Is it any wonder that girls come to 
Hollywood? It isn't hard to convince one- 
self that one could do as well and better 
than Miss White. Off the screen — if any 
one cares to know — she is notoriously 
dumb. I could say- a lot more. 

Dolores del Rio is fundamentally one 
of the greatest actresses on the screen. 
But that doesn't mean she can make any 
kind of face and get away with it. It is 
true that her one great performance was 
in "Resurrection." With the opportuni- 
ties she has had, no one but she can be 
blamed for her mistakes. I have seen 
almost every picture she has ever made, 
in search of a glimmer of the divine spark 
which gave such poignant and tragic 
beauty to Katusha Maslova, but have only 
become thoroughly disgusted instead. Do- 
lores had better leave the cute capers for 
a while and go back to real acting. 

Crocella Mullen 

Hollywood, California. 

Too Busy for Clubs. 

In the article entitled "Are These Your 
Stars?" was mentioned the fact that the 
stage recruits seem to have caused little 
or no ripples, because no clubs had been 
formed in their honor. Another quote from 
the article is "After all, who are Jeanne 
Eagles, Herbert Marshall, et cetera when 
Charles Rogers and Nancy Carroll are 
playing across the street?" 

The entire article seems biased. It 
seems that Radie Harris tried to arouse 
prejudice against the stage stars who have 
come to the screen. 

As far as clubs in their honor are con- 
cerned, I don't suppose there will be any, 
for the simple reason that these stars ap- 
peal to the class of people whose lives 
are too busy to form clubs. These stars 
have supporters in the mature classes. 

Let us take Ruth Chatterton for an ex- 
ample. What an actress ! I saw her in 
"Charming Sinners." How I enjoyed the 
character which she so gracefully made 
live ! How her voice carried ! The house 
was packed and every one seemed to en- 
joy her equally as well as I, for I could 
hear whispers, "Isn't she marvelous?" 
"Isn't she clever?" 

Although we recognize and enjoy the 
work of an artist, have we time to foster 
a club in her honor, or write fan mail? 
No, because we are entirely too busy. 
But when another Chatterton picture 
comes, we'll be on hand to see it. 

Mae Harris. 

90 Edgecombe Avenue, 
New York, N. Y. 

No Longer Unhonored, Unsung. 

We've all been praising and damning 
— and not faintly, either — these creatures 
called stars. Even those hard-working 
people, the magazine writers, have been 
spoken about now and then. But never 
do I hear any one commenting, favorably 
or adversely, about those poor, long-suf- 
fering individuals, the film reviewers. 
They exist in silent anguish through miles 
of film, often atrocious, in order that they 
may help guide us in our choice. 

So, I select for this month's list of 
adjectives, Norbert Lusk. Mr. Lusk is, 
to me, the most intelligent reviewer on 
any magazine. He does not pass off a 
lot of smart cracks and slipshod piffle as 
criticism. He adopts a workmanlike atti- 
tude toward his reviewing. You feel that 
he knows his business. Frankly, keenly, 
with fine impartiality and fairness, he 
analyzes pictures. Occasionally he brings 
in a bit of grand humor. 

Have you ever noticed how much he 
knows about drama — tiny, fine points ? 
Sometimes, when he allows himself to di- 
gress, he gives really brilliant disserta- 
tions on phases of drama. Note his ana- 
lysis of so-called natural speech on the 
stage, and the question of accent. 

Of course, my frequently agreeing with 
him may have a little to do with my ad- 
miration. It has come to be a game with 
me to see all the films possible before Mr. 
Lusk does, and then compare my reactions 
with his. And how we do agree! If I 
miss a. picture he praises I am sorry, be- 
cause I know that I would have liked it. 

Ever since Mr. Lusk wrote long ago a 
series of articles dealing with Mabel Nor- 
mand, Geraldine Farrar, and all the fas- 
cinating people of early film life, his work 
has interested me. And I'm glad that he 
has not let me down in this new work. 
Although it can't be new — he knows too 
much about it. Alice Clifton. 

225 East River Street, 
•Peru, Indiana. 

Continued on page 12 

Advertising Section 

"The Only Gesture You 
Can Make Is To Marry!" 

Janet sillied without answering. She 
gazed up into the eyes of her artist 
lover. One man had offered her wealth, 
another fame, and a third social position. 
But in each case the offer carried a con- 
dition which made it impossible for her 
to accept it. 

And this Leonard Quigg, with his 
erratic, artistic temperament, was just 
the type of man she had vowed she 
•would never marry ! Yet she cared for 
him probably more than any of the 

She hesitated and then 

The next thing she knew Leonard 
was kissing her, kissing her throat and 
her closed eyes, and the crimson bowl that was her mouth. 

"I love you, Janet," he was saying. "I love you. You don't know how sweet 
you are, how r sweet " 

But even after this, Janet wavered in her decision. The love game was too 
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lightly for love of a musician. 

Read the absorbing account of the love affairs of this fascinating modern young 
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The Loves of Janet 


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Continued from page 10 
In Memoriam. 

Silence on the Warner set! The bugler 
in the studio orchestra sounds taps for one 
who has passed on. Gladys Brockwell, a 
real old-timer in the movie racket and an 
accomplished actress, has been taken from 
us forever. But her fans will have mem- 
ories which no one can take away. Such 
pictures as "Stella Maris" and "The Home- 
towners" are more than sufficient to make 
her immortal in the memories of those 
who have watched motion pictures rise 
from the time Gladys Brockwell got her 
start on the screen. She was the first real 
actress with a soul. Let us pay silent 
tribute to a wonderful artist. 

Eddie Hill. 

New York, N. Y. 

Ah, Alice Is Defended! 

Ye gods and little fishes, what on earth 
has come over the fans, slamming my 
favorite actress, Alice White? 

Kathryn Snyder relates that Alice thinks 
she is Clara Bow's twin. That shows 
how much Miss Snyder reads the maga- 
zines. There are interviews with Miss 
White in which it was stated that she had 
cried, because some one said that she 
resembled Clara Bow. 

I have never seen nor met Miss Snyder, 
but I have my opinion of her. She hopes 
that all the foreign players who come to 
America will fail. I wonder if she has 
seen Nils Asther? 

And another thing, Joyce Alliston, of 
Canada, says : "When Alice White was put 
on the screen, it was just a case of add- 
ing insult to injury; she isn't good looking 
and she can't act." All I can say is, that 
if you don't like her pictures, don't go to 
see them. You won't be missed. Who 
gave you the idea that she isn't good look- 
ing? I suppose your idea of a choice- 
looking girl is Polly Moran. 

The only ones who have the authority 
to take her off the screen are her fans, but 
as long as Jacksonville, Florida, is on the 
map, Alice White will be on the screen. 
She is one of the biggest box-office bets 
here. I know, because our closest friend 
owns a theater. 

Betty Harrison. 

2225 Post Street, Jacksonville, Florida. 

Eddie Dowling Gets a Hand. 

Of all the stage stars who have ap- 
peared in talking pictures, there is only 
one I would include among my favorite 
screen stars. He is Eddie Dowling. He 
has personality, he has whatever it takes 
to win the hearts of fans. 

In my opinion, "The Rainbow Man" is 
one of the best pictures to date, made so 
by Eddie Dowling's sincere and stirring 
performance, aided by Frankie Darro and 
Marian Nixon. 

I noticed, too, that Eddie Dowling not 
only acted in the picture, but wrote the 
story ; not only sang the songs, but com- 
posed the music. 

How I would love to shake hands with 
Norbert Lusk, Picture Play's reviewer, 
for expressing my thoughts exactly in his 
review of "The Rainbow Man" and his 
opinion of Eddie Dowling. 

Here's to Picture Play for giving us a 
picture of Eddie Dowling in the rotogra- 
vure section of the August issue. 

A. Herman. 

723 East 8th Street, 
Little Rock, Arkansas 

Can't Clara Be Serious? 

Let me say that I think Ruth Chatter- 
ton's Madame X was the most exquisitely 
human character ever portrayed on the 

Wkat the Fans Think 

screen. With her beauty and that thrilling 
voice, she ought to go far. She is real 
and human, and I believe that with "Ma- 
dame X" to her credit she has placed her- 
self high on the ladder of fame, and I 
know I'm not the only one who thinks so. 

What's the matter with Clara Bow? 
Her interview in August Picture Play 
was laughable, to say the least. She is 
taking the wrong stand when she makes 
excuses for her jazziness and love of life. 
That "laugh-to-cover-a-breaking-heart" at- 
titude sickens any one. We admire Clara 
for her joyousness, her daring, and youth; 
we love her for that, not her "nobody- 
understands-me" pose. I suppose criticism 
has troubled her, but she should remem- 
ber that any one is criticized who is dif- 
ferent and lives his own life. 

Charlene Carol. 

2230 Sixth Avenue, 

Los Angeles, California. 

Barthelmess' Doubling Upheld. 

Two letters which appeared in "What 
the Fans Think" slamming Richard Bar- 
thelmess' singing in "Weary River" urge 
me to come to his defense. 

For years Dick has been my favorite. 
I have stood up for him in spite of many 
criticisms by the fans. And I intend to 
say a word or two right now ! 

Why does every one think it so dread- 
ful that a -double did Dick's singing? 
Surely that was better than Dick singing, 
if his voice was not suitable. His admirers 
would have been disappointed if his voice 
were poor and unappealing. And, be- 
sides, that would have spoiled the picture. 
I think Dick should be praised for the 
clever way in which he »faked his singing. 
Perhaps all his fans do not realize what 
a really difficult task that must have been. 

As to Barthelmess' "publicity act," that 
is all foolishness. It shows how really 
selfish the fans are becoming. They are 
not satisfied with the age, height, coloring, 
et cetera, of the stars. They must pry 
into the home life of their favorites. 
How annoying and unpleasant this must 
be to the stars ! The fans demand to 
know whether or not the stars are en- 
gaged, married, divorced, and how much 
salary each gets. This, to me, seems only 
the affairs of the stars themselves. 

Perhaps if the fans were to be a little 

less curious and a little more considerate, 

they wouldn't have quite so much trouble 

receiving the pictures for which they write. 

A True Barthelmess Fan. 

Attention, Joan Crawford! 

It is sickening and tiring to read the 
unkind letters about Alice White. Just 
what has Alice done to deserve the treat- 
ment given her by the fans? I can hear 
the answer to that question by those who 
read this. They will say, "That's just the 
trouble, she hasn't done enough to war- 
rant her being on the screen." But I do 
not agree. I enjoyed her performances 
in "Show Girl" and "Naughty Baby" very 
much. She is cute and peppy and while 
of the same type as Clara Bow, she is not 
similar. There is room for both these 
girls on the screen, and I hope Alice gets 
a better deal than she has been getting. 

Also, all the yelling about the old and 
new stars is rather silly. Why not like 
them both? One fan cries for youth, the 
other wants the older stars. My favorite 
is Norma Talmadge, and I am pleased 
to read that she' is making a talkie. It 
will be a pleasure to hear her voice, and 
she is at present looking younger than she 
did five years ago. She is a vivid, re- 
fined, charming personality, and I hope 

she never retires. Just a word for Con- 
nie Talmadge. Oh, come, fans, demand 
her return. No other comedienne can give 
the same inimitable touch that Connie can. 

But don't think I don't like the young- 
sters. I think Sue Carol is adorable, and 
also Joan Crawford, Billie Dove, Anita 
Page, and others are nice. To say noth- 
ing of Charles Rogers! His voice quite 
measured up to expectations in "Close 
Harmony," and Nancy Carroll gave an 
excellent performance. But then she al- 
ways does. As Norbert Lusk said in the 
August issue, "She's one of those rare 
things on the screen, an actress." 

I've been trying to figure out whether 
the person who wrote the letter signed 
Fraser MacDonald is really serious, or 
just trying to be sarcastic. It is one of 
the silliest letters ever published. How 
can that fan let another person's opinion 
influence his ideas? Has he no brains to 
form opinion for himself? Whose business 
is it, anyway, what Gary Cooper is like in 
real life? Do these fans expect to get a 
chance to go to Hollywood, and meet him 
personally, that they are so worried for 
fear he might not care to recognize them 
after they get there? 

I think the ruling that no more photos 
be sent out, unless they are paid for, is 
the silliest ever. We fans should not be 
expected to pay for our favorites' pic- 
tures. It is the least they can do for us. 
And Joan Crawford had better watch her 
step. It is deplorable the way she ig- 
nores her mail. She won't have to bother 
with it after a while— she won't have 
any fans. 

In answer to the fan who wrote for 
Evelyn Brent's photo, and didn't receive 
it, I wish to say that I wrote twice, en- 
closing only a two-cent stamp, and both 
times I received the photo. This was be- 
fore the abovementioned ruling was made. 
Another thing that is absurdly ridiculous 
is the no-fan-club ruling at some of the 
studios. It cannot possibly hurtthe stars, 
because if a club is dishonest it is soon 
found out. And to stop them from be- 
coming honorary members of other fan 
clubs is just plain mean, as it helps the 
the other club along. I just hope some of 
the stars break this rule ! 

Marion L. Hesse. 

154 Elm Street, 
Elizabeth, New Jersey. 

Miss Chatterton, Yes; Miss Eagles, 

The article "Are These Your Stars?" 
reminds me that, having seen in pictures 
several of the stage actresses mentioned, 
we fans owe it to these splendid actresses 
to voice our admiration, so here goes! 
Especially when I think of Ruth Chatter- 
ton, to my mind the finest actress on the 
screen to-day. Pauline Frederick runs 
her a close race for genuine acting abil- 
ity. She throws so much heartrending 
feeling into her roles, Jhat her personal 
beauty is always secondary to her acting. 
I mean, in scenes where other actresses 
would strive for mere beautiful effects, 
such as Jeanne Eagels did in "The Let- 
ter," Ruth Chatterton forgets self and 
plays the person she is portraying so viv- 
idly that she doesn't care whether she is 
showing the best side of her face to the 
camera! This is unusual and puts her in 
a class by herself. Not only that, but her 
voice is lovely. Its tones and depths of 
feeling are wonderful. 

I heard so much about Jeanne Eagels, 
in "The Letter," that I went to see her. 
I was disappointed — terribly disappointed 
—first of all in Miss Eagels' voice, which 

Advertising Section 


is entirely too stagey and affected. Sec- 
ondly, I thought she overacted through- 
out the picture. Not only that, but you 
never forget for one minute that she was 
acting. She was constantly striving for 
best angles before the camera, and rolling 
her eyes unnecessarily, spoiling scenes 
tense with drama. The few, very few 
indeed, clothes she wore were constant 
reminders of her alone, never the person 
she was playing. 

Personally, I welcome the stage people. 
They will give the movie stars something 
to think about besides perfect profiles and 
curled eyelashes! I am sick of both! 
After you go and see a truly splendid 
actress like Ruth Chatterton or Dorothy 
Burgess, in "In Old Arizona," it makes 
you glad the talkies came along to en- 
liven an industry that was headed for 
cheapness and imitation. Now we are 
getting nearer the real thing. 

F. Smith. 

Los Angeles, California. 

Boosting Kenneth Harlan. 

There has been much discussion among 
fans regarding the talkies. But the most 
important issue to me is : Will the talkies 
be fair to the screen players? 

I have no complaint to make against 
bringing to the screen such indisputably 
capable stage stars as Raymond Hacketl, 
in "The Trial of Mary Dugan" and 
"Madame X." But I prefer to see and 
hear the old favorites, whether their voices 
be perfect or not. 

Many screen players have taken a fling 
in vaudeville and in plays during the past 
year, and have been successful in being as 
appealing in person as they had been in 
silent pictures. Not long ago I was quite 
thrilled by Harrison Ford in a play. Why- 
has not some film magnate nabbed him for 
the talkies? 

A few weeks ago I had the pleasure of 
meeting Kenneth Harlan, and also seeing 
him in a vaudeville sketch. The act went 
over big. He was encored again and 
again. Mr. Harlan is a perfect type for 
both stage and screen, if you ask me — 
which you don't. Voice — very distinctive. 
Looks — he is about the handsomest man 
I've seen in many a day. And I can 
vouch for his being unusually courteous, 
for he strived to please even so unim- 
portant a person as me. 

Kenneth Harlan wants to get back on 
the screen. Why he has been off it is a 
mystery to most of us. I move that we 
remember the man who gave us such re- 
markable characterizations in "The Beau- 
tiful and Damned" and "The Virginian " 
some years ago. He is there with every- 
thing necessary, even to having a follow- 
ing of faithful fans willing to boost him, 
not only when he is at the top, but when 
he needs their support ! 

Olive D. Thompson. 

Los Angeles, California. 

Where's That Quarter? 

Quite a while ago I wrote to Barry 
Norton for his picture. I've always ad- 
mired him and always will, but why, oh 
why, Barry, don't you send it? What 
arc you going to do with my quarter? 

The way stars treat their admirers de- 
termines their popularity, to a certain ex- 
tent, and shows whether or not they are 
as interested in the public as the public 
is in them. 

When I send a quarter I want a photo- 
graph ! L. Currier. 

618 West Twenty-fourth Street, 
Oklahoma City, Oklahoma. 
Continued on page 103 


. Do Well in 


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Advertising Section 

re fie \ 




With Jason Robards, 
Zasu Pitts, and Louise 
Closser Hale. A Clar- 
ence Badger produc- 
tion. Based on the 
play by Martin Brown. 



"Yitaphone''' is the registered trade' 
mark of the Vitaphone Corporation 



wlii] you'll call 
tHi the qreatef l 
picture ever/ 


PICTURE PLAY, November, 1929 Volume XXXI Number 3 

John Gilbert chooses Continental comedy for his new picture. "His Glorious Might," which brings about the debut of 

Catherine Dale Owen, of whom we shall see much, because of her reputed success as Jack's vis-a-vis. 

Here she is seen as Countess Tina Orsolini, at last in the arms of Mr. Gilbert, as Count 

Kovac, who, posing as a swindler, succeeds in winning Countess Tina away from her 

fiance and. like a truly Gilbertian lover, against the will of the lady a> well. 


Tkeir Actions 



The idiosyncrasies and the extraordinary 

proclaim them to be not like ordinary 

attracting attention. You will enjoy this 

side lights on the private 

B$ William 

ACTIONS speak louder than words. 
A genius is known by his actions. 
The Russian ballet couldn't do without 
action — although one might be forgiven for 
believing the performers not quite sane, espe- 
cially in a presentation such as the "La Maison 
de Fous." 

What am I talking about? I'm trying my 
hardest to lead up to my topic — the strange 
actions, idiosyncrasies, and extraordinary be- 
havior of the geniuses of filmland. They prove 
to the onlooker that a genius can never be like 
an ordinary individual. 

If one be ordinary, it seems one is not a 

It seems, also, that a genius can let his mind 
become possessed by the character he portrays, 
just as eccentric people in ancient times were 
often described as being possessed by a devil. 
For instance, John Barrymore, in "Doctor 
Jekyll and Mr. Hyde," ac- 
tually made audiences be- 
lieve he was a crazed crea- 
ture when playing the latter 
character. So much for 
what genius can do ! 

John has been labeled a 

An artist sees, 
feels, and hears 
things not re- 
vealed to an or- 
dinary person, 
says Jetta Gou- 

Photo by Ball 

genius because of his stage 

talent. Some of his screen 
work has also reached heights. His roles 
are always colorful— yet few, perhaps, are 
as striking as the great Barrymore himself. 

The Barrymores — Ethel, Lionel, and John 
— are the Barrymores, as everybody knows. 
Edna Ferber's play, "The Royal Family," is 
said to depict them en famille. True, or 
false, the title is good. Royalty, in ye goode 
olde days, dwelt much on the divine right 
of kings. A king could do no wrong. 
However peculiar his actions, he remained 
always a king. 

So it is that one might say, "John can do 
no wrong." I am sure John is a firm be- 
liever in this himself. 

Once, at a Pasadena restaurant, Barry- 
more and his then fiancee, Dolores, her sis- 
ter, Helene, and a friend, arrived for dinner 
one evening, after the hotel dining-room had 
been closed. 

What to do ? The ordinary person, of 
course, would have dined at the proper hour, 
or, seeing the dining room barred, would 
have left and bought a hamburger, or a hot 
dog, from a roadside stand. Not so the 
royal Barrymore. 

Strolling to the desk, John struck it twice 
with his open hand. 


Speak Louder 

behavior of the geniuses of Hollywood 
mortals, content to go along without 
amusing article, which casts revealing 
conduct of the gifted great. 

H. McKegg 

"Do you know who I am?" he imperiously 
asked, in the tones of Hamlet. Before the 
startled clerk could say "The Prince of Den- 
mark," his questioner added. "I am John Bar- 
rymore, and I intend to have my dinner in this 
restaurant to-night !" 

Had he said, "I am the Angel Gabriel, with 
three companions of the heavenly host," the 
management could not have abased themselves 
with more servility. The closed dining room 
was flung open to John and his gnests, who 
entered therein with true royal mien. And 
wine was presented, almost as a votive offering 
to one not as other men. 

While talking of food — Mr. Barrymore will 
frankly tell the entire room what he thinks of 
each dish. If it be good, he will say, "This 

is fine!" If not so good, John 

declares it tastes like — well, he says what he 
thinks it tastes like, though how he knows is 
beyond me. 

Yet as a gourmet of epicurean taste, I don't 
think John should be accepted as an authority. 

He has a preference for garlic and olive oil. 
Whatever dish he or- 
ders, he has served with 
it several cloves of gar- 
lic and some oil. He 
crushes the fragments 
of garlic in the oil, and 
pours the lot over his 
salad, or meat ! 

When an ordinary 
person buys a new coat, 
he dares hardly wear it 
for fear of marring its 
newness. Not so J. B. 

Once he bought an 
expensive camel's hair 
coat. He did not like 
its newness, so what 
did he do? Placing the 
coat on the garage 
driveway, John kept 
treading on it — doing 
something like the 
"Varsity Drag," to give 
the garment an antique 

An impossible act on 
the part of an ordinary 

If Eddie Nugent ever 

becomes a genius he 

will be the last to know 


l'holo by Louise 

liv T.ouise 

Religion and acting are dominant factors 
in Ramon Novarro's life, surely the in- 
congruous mixture of genius. 

person, you say — but on the part of a 
genius? "Aux grilles rietl d'impos- 
sihlc!" as the great Goudal would de- 

The really great are of course given 
much latitude by all ordinary individ- 
uals: but it does nut do to act like a 
genius, unless you are one. 

Xow, I have met David Xewell only 
once for a very brief while. Yet his \ 
seems to crop up wherever I go. < hie 
evening, visiting friends at the Mayfair 
apartments, I was startled to hear a 
voice exclaim. "Whom do you take me 
for? I am David Xewell. under I 
tract to Paramount, leading man f«>r 
Clara Bow." And the shouted state- 
ment- that followed had something 

do with dining out. 


Tkeir Actions Speak Louder Tkan Words 

When Jeanne Eagels says she can't act to-night, she 
means she won't act to-night. 

Again one evening I. was dining with the same 
friends at a newly opened restaurant on Hollywood 
Boulevard. Tables were in booths. Suddenly, from 
the next booth, I heard a voice say to the manager, 
"Do you know who I am?" The manager evidently 
didn't. So the voice informed him. "I am David 
Newell. I come here every evening. I'm a good 
customer. I've asked for sweetbreads for I don't 
know how long. Never can I get anything I ask for. 
Why, I've asked for sweetbreads over and over again." 

Mr. Newell, of course, had to take something else 
on the menu. And I doubt if the management ever 
bothered to obtain any sweetbreads — "the smile of the 
calf," as the French call them. 

Compared to Barrymore, Mr. Newell's complaint at 
the restaurant sounded like a grasshopper competing with 
an elephant, in asking for sweetbreads for I don't know 
how long. Yes. sir — only the really great can't be ordinary 
and get away with it ! 

I have always deemed Ramon Novarro very versatile, 
though, as every fan knows, he has had little chance to 
reveal it. 

Many admirers rank Novarro a genius. I admit that 
in this talented young Mexican there are the attributes 
of one. 

He appears to be an embodiment of a soul seeking both 
religious heights and theatrical acclamation. 

"Ramon used to be a great philosopher, writing the 

truths of life," a fair, young player once 
murmured, as if saying an "Ave." I 
looked blank. She smiled dreamily and 
added, "You don't understand me. I'm talk- 
ing of Ramon a thousand years ago." 

Thus you see why Novarro is not an 
ordinary individual ! 

Not content, so we are told, with his 
movie fame, Ramon wishes success as an 
opera singer. To my ears, his singing in 
"The Pagan" offered little possibility for 
operatic triumphs. Maybe the recording 
was bad. But Ramon's voice will have to 
be a far greater one, before he bursts forth 
singing in the spcrrsitze of the Royal 
Opera in Berlin, where only the world's 
greatest are heard. 

Then again Mr. Novarro seeks religious 
meditation. Does he hope to find any in 
opera? I can tell him now he won't. 
What I know about opera companies ! 

Among religious relics, altars, candles, 
and peace in his home, Novarro has also 
his Teatro Intimo, where he stages plays 
and sings and dances. Mixing these things 
together seems incongruous. 

Yet why not ? Saint Augustine patron- 
ized the theaters of- Rome, where 
jpL the Cecil DeMilles of their day put 

\ on huge spectacles, and old first- 

i 4»» ** ' nighters described the million-dol- 

lar shows with all the rhapsody of 
\ ^X; modern fans. 

Is Novarro a reincarnation of 
Saint Augustine ? The 
gentleman was holy, but 
evidently admired the the- 
ater. His eulogies, in 
Latin, cannot be quoted 
here, but they exist as 
truly as Ramon. 

He remains a recluse, 
shunning the crowds and 
the emoluments of fame. 
Religion and acting are 
the dominant factors in 
his life. I have often 
wondered if he so desires 
the first, why does he not 
eschew the notoriety of 
the other ? 

Ramon keeps to both. 
But then he is no ordinary 

Seeking enlightenment 
on this genius topic, I 
went to Jetta Goudal. I 
felt assured that my visit 
would not be in vain. 
And, to a certain extent, 
it was not. 

Looking like Cleopatra, 
and talking like Hypatia, Jetta 
said, "You cannot compare a — • 
well, I shall say an artist — with an 
ordinary person. There is no 
comparison mentally. An artist — 
or a genius — cannot be normal. 
By normal I mean average, one 

John Gilbert deserves praise for 

being honest in his utterances, at 


Tkeir Actions Speak Louder Than Words 


going according to rule. All real artists — or 
geniuses — are abnormal." 

La Goudal closed her enigmatic eyes and re- 
laxed, her slender hands resting on the carved 
wood of the Louis Quince chair on which she sat. 
I took it that Jetta was getting in touch with her 
innermost mind. Suddenly she opened her eyes, 
instantly disconcerting me, as she continued. 

"A painter does not see flowers, trees and col- 
ors as the ordinary individual sees them." She 
curved a sculptured arm toward an old, silken 
tapestry. "The ordinary person, looking at that, 
would see only the colors you see. A painter 
would immediately see the spirit of the pattern, 
the various tones in each different hue." 

I vainly tried to find tones in the hues, when 
la Goudal remarked, "An artist, a genius — which- 
ever you like — is first of all true to himself. He 
will not do what his inner self tells him is not 
correct or right for his abilities. He sees, feels, 
and hears things differently — with a far keener 
perception — entirely above the senses of an ordi- 
nary person." 

The throbbing Goudal voice dropped down a 
tone, gradually increasing in crescendo as she 
said, "Were I to force myself to do something 
that went against every fiber of my artistic senses, 
I would be false to myself — no longer an artist, 
but a puppet." 

Jetta has been called many things by her an- 
tagonists. Her recent legal difficulties with Cecil 
DeMille have been well aired. Yet I must call 
attention to the fact that the judge said that a 
real artist could not be expected to do the things 
expected of an ordinary person. That judge 
knew something. But he might have said 
"genius" — for such is Jetta Goudal in more ways 
than one. 

Jeanne Eagels is evidently an ardent admirer 
of la Goudal's acting. Some time ago she wrote 
an article called "Jetta and I," describing how 
artistic natures differ from the average. This 
occurred when Jeanne had 
just been temporarily ban- 
ished from the stage by 
Equity, and Jetta was 
fighting in the courtroom 
for artistic justice. 

Miss Eagels is said to 
be very temperamental. 
And why not? She is an 
artist to her finger tips. 
So true to herself is 
Jeanne that she absented 
herself from a few per- 
formances of a play. But 
if Jeanne says, "I can't 
act to-night," she means 
she won't act to-night. 
That's all there is to it. 

But so much of an ar- 
tist is Miss Eagels, that 
she should be permitted 
the grace of genius and 
allowed to act when she 

Jeanne throws tempera- 

Charlie Chaplin is the dean 
of Hollywood's geniuses, 
being the first to be pro- 
claimed one. 

A newcomer to Hollywood, David 
Newell believes in introducing him- 
self in public places. 

mental fits, because she generally 
puts too much of herself into her 
roles. Jetta only revolts when 
things go against her artistic princi- 

Charlie Chaplin is a genius, and 
acts like one. 

Well, what Charlie doesn't do! 
Entertaining- guests, he will start 


Tke Battle of tke Accents 

It rages in Hollywood between stage players and film stars, and never the twain shall meet — in 

speech at least. 

By Elsi Que 

p, ty-\ ^ I '' \ ik x * *' ***>, ££\ Illustrated by Lui Trugo 

FIGURATIVELY speaking, the streets of Holly- 
wood are running with gore. Under the chamber- 
of-commerce blue of the California sky, a World 
War in miniature is being fought amid the awful silence 
of what are paradoxically known as the sound stages. 

The Battle of the Accents has been raging for months, 
with terrific casualties and, at the present writing, with 
hope of a decision. 

Established film favorites, seeking strength in union, 
have adopted the war cry of "The Three Musketeers," 
"All for one, and one for all" — this alone indicates the 
seriousness of the situation — and are massing for defense 
against invading stage forces. 

Stars and interviewers have come to grips in a minor, 
but spirited, engagement. The producers have a hand 
in each of these conflicts, and in their spare time are 
fighting each other. And still our marines remain in 
Nicaragua ! 

The Battle of the Accents is of first importance, be- 
cause the fate of so many once near and dear to us 
hangs on the outcome. Are the talkies to go British, or 
remain Ammurican? 

Most of the stage-trained players speak British Eng- 
lish, or something approximating it. The filmites speak 
shade of Ammurican to be found between the 


two oceans and the Canadian 

Compare, for instance, the 
luscious Tent' Avenoo intona- 
tions of Clara Bow, or the 
husky, corn-belt twang of 
Buddy Rogers, with the brittle 
enunciation of Jeanne Eagels, 
or the subdued, cultured drawl 
of Raymond Hackett. 

We are told that before the year 
is out, even the remotest hamlets 
in the United States will be wired 
for talking pictures. In which 
case there must be a place on our 
screens for all types of speech — 
the cultivated, and the wild, or 
natural, variety. 

But from across the seas, from 
the mother country, has come a 
refined yelp of protest. British 
ears are not to be affronted by any 
but the purest English as spoken 
in the right little, tight little isle. 

It is bad enough to have to look 
at these vulgah Yanks, as they 
have been doing for yeahs, without 
having to listen to the offensive 
argot that passes over here for 

Such, in essence, is the opinion 

and Mexican borders. 

Old Europe 

looks upon 

Uncle Sam as 


young giant. 

of John Maxwell, chairman of British International Pic- 
tures, the most important film organization in the land 
from which we severed all but friendly relations back 
in 1776. 

Mr. Maxwell believes that the English language, 
through talking pictures, has a good chance of becom- 
ing the international language. But, he insists, it is to 
be "English English"— not "American English." He 
cites, as a reason for his belief, the fact that large num- 
bers of English actors are being employed in Hollywood 

Perhaps it is unkind to suggest that this handful of 
missionaries may succumb to the virulent American 
idiom, before they can get very far with their good 
work. Maybe they have been inoculated against it. 

So far there is little indication that American pro- 
ducers are frightened or depressed by British diatribes 
against our accent. 

On the other hand, there is plenty to indicate that 
European producers are fearful of our influence. They 
are bestirring themselves over there, as never before. 
Combines, mergers, suits having to do with patent rights, 
and countersuits are being rushed into, all directed 
toward one common end — to keep Europe from being 
dominated by the American talkie, as it was by the 
American silent movie. 

It is rumored that the largest movie concern in 
Britain has combined with the largest and pioneer, 
German talkie enterprise ; that a five-million-dollar 
company has been formed to develop the talkie 
held in England, in conjunction with a fifteen- 
million-dollar concern in Germany to exploit the 
Continental field. 

There is more back of all this than mere com- 
mercial enterprise and business acumen. Europe 
is really afraid of us — afraid that our manners, 
customs, and attitudes toward life will be forced 
upon her rising generations. 

Americans in general have little idea of the 
distrust and prejudice with which many of 
our institutions are regarded by middle-class 

This unwelcome American 
invasion seems, to endanger 
not only their cultural integ- 
rity, but the very foundations 
of their national life. 

So the Battle of the Ac- 
cents, although it may seem 
amusing to the United States, 
clumsy, exuberant, uncouth 
young giant that it is, is a seri- 
ous matter to old Europe. She 
is watching us with anxious, 
hostile eves, like an ancient 

The Battle of tke Accents 


grande dame whose precious bric-a-brac is 
threatened by a visiting neighbor child. 

Second in importance, but of equally ironi- 
cal significance, is the clash between Holly- 
wood's nobility and the invading stage forces. 

The "profession" has always looked upon its 
hybrid offshoot, the movies, with a jaundiced 
eye. And no wonder. To spend a few weeks 
on the Coast was often to arouse envious and 
antagonistic feelings in the breasts of stage 
people. Here they saw mere chits, of both 
sexes, Rolls-Roycing from magnificent Beverly 
Hills estates to the studios, where their daily 
labor seemed to consist of nothing more ardu- 
ous than registering emotion prettily. For 
which they received weekly pay 
checks of staggering proportions. 

Clever, talented perhaps, beau- 
tiful certainly, these fortunate 
mortals called themselves actors 
and actresses. And the world ac- 
cepted and applauded them as 
such. That was where the rub 
came. That was what seemed un- 
fair to the visiting Thespians. Ac- 
cording to the exacting standards 
of the stage, not more than half a 
dozen movie stars could qualify for the honorable title. 
Yet here were girls like Billie Dove and Olive Borden 
enjoying the perquisites of stardom, showered with 
wealth such as Rachel and Bernhardt and Duse never 

The movie-trained public seemed perfectly satisfied 
to watch Olive gambol through stories written around 
her exquisite legs. And so long as Billie, and half a 
dozen others of comparable pulchritude, could smile 
and weep with photographic sublimity, who cared 
whether or not they had dramatic ability? 

When important stage productions made Los Angeles, 
the picture stars, of course, turned out en masse. But 
it must have been rather irksome to the legitimate .play- 
ers to find that at least half the audience had come to 
view the local celebrities, rather than the visiting ones. 
Advertising such as this must have been annoying: 
"Come and see the stars to-night at 'The Shanghai Ges- 
ture.' with Florence Reed." Or, "Your favorite movie 
star will be in the audience at the opening of Duffy's 
El Capitan Theater, to see Ruth Chatterton and Ralph 
Forbes, in Michael Aden's smashing New York hit, 
The Green Hat.' " 

All was sweetness and light, on the surface. The 
visitors were made much of by the picture crowd — if 
they didn't stay too long. They were taken about and 
shown things. 

But underneath the pleasant exchange of compliment 
and courtesy lurked criticism like a double-edged knife 
sheathed in velvet. 

The stage stars exclaimed over everything. Holly- 
wood was wonderful. 

Behind a highly manicured hand Hollywood 
stage players. 


same order. So-and-so was a fair actn 
but my dear! Such clothes! And -h< cer- 
tainly wouldn't stand up under a Camera test. 
Too bad they had to lose their youth and 
looks, before they could amount to much 
on the stage. Behind a highly manicured 
hand. Hollywood ' at the creaky, old 

theater, and its creaky, old players, with 
their audacious assumption of superiority. 

Jut what a change the talkies have 
wrought! Tt is the theater's turn to crow — 
and how it is crowing ! 

There is no more striking i -ample than 
of Ruth Chatterton. V yd no 
punster ha- ever 
played with that 
famous name, 
but Ruth'- chat- 
ter has certainly 
become on* of 
the most signifi- 
cant and impor- 
tant sounds in 
the modern I'a- 

Holly wo, id 
saw her first in 
the stage version of "The Green Hat," in which she co- 
starred with her husband, Ralph Forbes. Tin- play 
opened at one of the film town's most garish theaters 
and was enthusiastically received. Both -tars wire ac- 
claimed — praised to the skies. But it was Ralph, with 
his impeccable profile, who got the fat movie contract. 
Ruth — well, Ruth was a wonderful actress, of course, 
but as one interviewer has lately said of her "none of 
her features really fits." A wonderful voice. pois« . and 
that distinction vulgarly known as "class." could not. 
in the en. just passed, offset the lack of camera beauty. 
After the run of "The Green Hat." she slipped into 
obscurity. Hollywood sucked Ralph Forbes into its 
maelstrom. His wife remained safely moored in the 
backwaters. The figurative rift between them became 
actual, as his success increased. They occupied separate 
domiciles, but met occasionally in a friendly way. Ruth 
appeared in one or two silent pictures, and was damned 
with faint praise by the critics. Ralph, on the other 
hand, whose dramatic talents were never equal to hers, 
began to receive much fan mail. Languishing ladies 
from Oshkosh to Oslo were taking favorable notice of 
his virile, blond comeliness. He was riding on the crest 
of his natural permanent wave. 

Then came the talking pictures, and of all the aston- 
ishing changes wrought by the new order, none is more 
astonishing than the reversal of 
positions in the Forbes family. 
Ruth has emerged as the fore- 
most actress and nothing can 
stop her now. [Cont. on p. 92.] 

the men were devas- 
tatingly handsome, the 
women beautiful. And 
the most astonishing 
part of it, they often 
added, sotto voce, was 
what the cute, pretty, 
little sap-headed be- 
ings could get away 
with ! 

Private comment 
among the picture 
stars was of much the 

Stage veterans saw mere chits Rolls-Roycing to the studios 


David Rollins confesses that he gets quite a kick out of a piece of angel cake, or looking at jewelry 

in shop windows. 

OK, DaVie, BekaVe! 

David Rollins, at twenty, hasn't quite found himself and is undecided whether to be whimsical, or aloof 
and mysterious, but until he does decide he succeeds in being thoroughly engaging and rather touchingly 


By Samuel Rickard Mook 

All Photos by Kahle 

"Youth is a period of great, of very great, difficulty. Life 
swarms at you, storms at you, and you aren't equipped to meet 
it. You don't know what to do. You don't even know what it 
is that is going on within you and about you.'' 

Samuel Merwin. 

FOR a person who can read between the lines, the 
foregoing paragraph sums up David Rollins better 
than a volume could. Reticent, reserved, diffi- 
dent to the point of timidity, high-strung — adolescent. 

He was born in Kansas City on September 2, 
1909. While in high school his parents migrated 
to California, where his father bought a farm just 
outside Glendale and David finished his schooling 
there. His job on the farm was tending goats. 

One never thinks of David Rollins as an average 
boy, enjoying an average boy's pleasures — 
baseball, basket ball, dancing. One thinks 
of him, rather, as lying beneath a tree, his 
arms folded under his head, staring up into 
the sky, a dreamy look in his eyes 
and his thoughts as far away as 
the clouds. 

He is terrified at the thought of 
meeting people. I have seen him 
cross a street to avoid passing two 
men he knew who were engaged 
in conversation and who he feared 
might not notice and speak to him 
if he passed, or who might think 
he was trying to force himself 
upon them it lie spoke. 

I have known him. a number of times, to sit in his 
room with the telephone ringing for fifteen minutes at 
a stretch, without making the slightest effort to answer 
it, for fear it would be some one who didn't interest him. 
In fact, he answers his phone so seldom, the studio has 
given up trying to reach him by that means. Messages 
for him are usually left with his sister elsewhere. 

He seldom goes out at night — particularly to parties. 
"Most of the boys and girls I know like a drink or two," 

he says. "I don't drink, so I 
feel I haven't much in com- 
mon with them. Nothing 
wrong with their drinking if 
they like it — I just don't hap- 
pen to care for it. 

"Girls are pretty much all 
alike after you've known 'em 
about a week. I go out with 
Nancy Drexel more than any 
other. We have a lot in com- 
mon and we understand each 
other. But I'm afraid to see 
too much of her, for fear I'll 
find out she's just like the 

'You and Sue Carol and 
Nick Stuart seem to be pretty 
friendly," I .'aid. 

"Yes, we are. They're won- 
derful to me. I've worked in 
four pictures with Sue and 

David once 
goats on his 

f athe r's 


OK, Davie, BekaVe! 


three with Nick, and we nearly always have a good time when we're 
out together, hut they have each other — that's about all they're 
interested in. I'm an outsider, no matter how friendly they are." 

It is hard to get him talking. When he does talk, it is usually 
in desperation lest he be thought stupid if he doesn't. Occasionally) 
in a sympathetic atmosphere, he talks — talks incessantly. Words 
come tumbling out of his mouth, fairly tripping over each other. 
It is in rare moments like these that you get a glimpse of his real 

To come back to his goats — or his father's. "I finished high 
school and thought that life should hold something more for me 
than goats, so father and I went to the mat on the subject. We 
had a terrible scene. He called me all sorts of names and I left 
home. At that time my sister was married to an army officer and 
I went to live with them. I got a job in a bank as messenger. 
Then, after a while, I was taken out of the messenger department 
and put on the adding machines. Then summer came and my 
brother-in-law. Major Headache, thought I ought to go to the 
civilian training camp. 

"If I went, it meant resigning from the bank, as they wouldn't 
let me off that long. I wanted to go and he thought it would 'be 
the making of me' — whatever that means — so I went. 

"When that was over, I came back to Hollywood. I hadn't a 
job, so my sister suggested that I try the movies. I laughed at her, 
but nothing else came up, so finally 
I went out to Universal to try my 
luck. They registered me and, a 
few days later, called me for work 
on. the 'Collegian' series. Calls 
began coming in pretty regularly 
— three or four times a week, al- 
ways through Central Casting Bu- 
reau, of course. Finally Central 
called up and wanted me to come 
down there. They said they real- 
ized I had been getting pretty 
steady work from Universal and 
thought there must be some reason 
for it. When they saw me, they 
thought I'd be a good type for col- 
lege pictures and promised me 
work at the other studios. 

"A dreamy look in his eyes and his 
thoughts as far away as the clouds." 

Despite his outward gayety, the 
interviewer thinks that Mr. Rol- 
lins has never had a close friend. 

"Finally I was called to Fox 
to take a test for 'Cradle 
Snatchers.' I didn't hear any- 
thing about it for a long time, 
then I heard that Arthur Lake 
had been given the part. I was 
sick about it. but my sister said, 
'If you are going to stay in this 
business, you might just as well 
make up your mind that you're 
going to have disappointments 
— lots of them. Let's go down 
to the beach and have a good 
time and forget all about it.' 
So we went down there and had 
a swell time and came home and 
there was a call from Fox to 
report for another test. 

"When I got out there. I 
found it was for the sympa- 
thetic part in 'The High-school 
Hero.' David Butler, the di- 
rector, looked me over and called 
I've got to test a lot of people for this 
I like your looks and I'm going to do 
I've got anything to do with it. you're 
And I did. And when it was done, I 
got some nice notices and a five-year contract from F< 

He paused a moment and rushed on. "Gee, it's funny ! I make 
more, now. in a week than I made at the bank in a month, and that's 
less than two years ago and yet, somehow, even with all this inert 
income, I have trouble making ends meet and I'm not extravagant 
either, do you think?" I had to confess T didn't. 

"You see, my sister and her husband separated and I help her and 
her two children. And I help my mother. And I have myself to look 
after. We all live modestly, but we get by." 

Half jokingly I asked when he was going to get a new car. David 
surprised me by his answer. "Not until I've got the money in the 

bank to pay for it. I've just finished paving for Clara " 

"Who ?" 

"Clara — my old coupe. I admire [Continued on page 104] 

"Girls are pretty much alike after 

you've known them a week," says 


me to one side and said, 'Now, 
part, but don't be discouraged, 
everything I can for you. If 
going to play in this picture.' 


Come On, Let's Sing! 

The once-mute picture colony enters with gusto into the development of its singing voice now 
that the song is the thing, and this authoritative article gives intimate glimpses of the stars at their 

lessons as well as side lights on their teachers. 

By Elza Sckallert 

THERE is no question about it, Hollywood is be- 
conaing cultured. And with a vengeance ! 
The highest social grace any one may possess is 
an interest in music. 

The more one knows about Herr Ludwig von Bee- 
thoven and the less about Paul Whiteman the better. 

The only "out" for being on intimate musical terms 
with Whiteman is the knowledge that he is a good mu- 
sician, besides being a "King of Jazz," and that for years 
he was one of the first violins in a symphony orchestra, 
where Brahms and Bach and Mozart and Tschaikowsky 
were friends and not enemies. 

The talkies are to blame for this state of affairs — for 
Hollywood's artistic milieu. Because, with their advent 
into the realms of literature and music, there followed 
to the Western metropolis the greatest influx of Broad- 
way's celebrated authors, actors, and actresses, writers 
of melody, headliners of song, musical comedy favorites, 
and even artists of concert and operatic stages, that the 
world of entertainment has known. 

In a way, the Broadway regulars and reserves have 
been a veritable army of invasion into a territory that 
had been exclusively occupied for many years by the 
sons and daughters of pantomime. They have been 
charming and talented invaders, but they have stirred up 
a fight for survival among the Hollywoodites, none the 

The film colony's battle for self-preservation has re- 
sulted in numerous casualties and complete annihilation 
in some instances, but 
the scars have been all 
to the good. Because, 
for once, Hollywood's 
eyes have been opened to 
broader vistas of effort. 
The players have come 
to realize that there is 

something beyond the horizon of flickering shadows, and 
that they, in turn, must invade and conquer new worlds 
— the worlds of the spoken word, and of song. 

The days when the height of aesthetic achievement was 
the triumphant ride through town of Tom Mix in an 
oversized Rolls-Royce, with liveried chauffeur and foot- 
man, and luxuriating in plum-colored evening clothes 
and sweeping, white sombrero, are gone forever — no 
more to return. 

Hollywood is now giving more attention to the inside 
than the outside. Beautiful stars aren't content any 
more with their merely pictorial personalities. They 
really and truly want to learn how to act, how to articu- 
late, how to give the meaning to a word that they have 
in the past given to a gesture, so that their sisters of the 
stage cannot steal their thunder. 

They want to learn how to sing, so that they may 
beautify their speaking voices, or better still, that they 
may be able to sing when a part in a talking film calls 
for it. They do not want to resort to a double, as some 
stars unfortunately had to during the past year. The 
effect of this doubling has been very bad for the star. 
Audiences have resented it. They have felt that some- 
thing akin to cheating was put over them. 

The stars that have survived the old order are also 
anxious to learn about music — piano, for instance — so 
that they may hold their stellar places in the new social 
life of Hollywood and enjoy the evenings which are 
given in great part to music. The big games of charades 
and ping pong are not prime at- 
tractions any more. 

We come to this. Hollywood 
has been the playground and the 
workshop of naive children who 
have outgrown their toys and 
their clothes. Now they have to 
get down to the serious business 
of growing up and sticking their 

Otto Morando, 
Bebe Daniels' 
teacher, is some- 
thing of a 
martinet and 
the fame of 
his pupils 
means noth- 
ing to him. 

Come On, Let's Sing! 


heads between hook covers, 
and not the latest best-seller, 

And so 1 Iollywood is taking 
its first singing and piano les- 
sons. And the result is a 
spirit and an enthusiasm that 
are positively glowing. Hol- 
lywood has touched a world 
that heretofore has seemed ab- 
stract and forbidding. It is 
humming in the mike, in the 
sunshine, in the rain. And the 
voice teachers are thrilling, and 
also handsomely thriving, be- 
cause they have a new group 
of fascinating, earnest stu- 
dents, who have enough money 
to pay for the inflated price of 

Oh, yes! Singing's gone up 
in price considerably. There 
are two or three teachers with 
impeccable standing, whose 
rate scale has remained static. 
But they are the exceptions. 
They are highly ethical. But 
there are others who never 
topped $3.50 a lesson in their 
lives, who have fitted up arty 
studios, encouraged goatees, 
have placed dozens of uncut 
volumes expounding "the fine 
art of singing" all over their 
salons, and then jumped their 
prices to $10 'a half hour, and 
in several instances to as high 
a- S2^. Ten lessons are al- 
u ays paid for in advance. 

( )ne teacher who is flourish- 
ing in this musical bonanza 
told me, "I heard that film 
people are poor payers, no 
matter how much money they 
have, so I make them pay for 
their lessons in advance." 
Maybe she's right. But her 
lessons are too high. Much, 
much too high. 

1 tow to find the right in- 
structor has been the cry since 
the Italians fostered the school 
of bel canto, two hundred 
years ago. In no other branch 
of music is there as much 
quackery and bunk as in sing- 
ing. It has always been so. 

It probably always will be. Each teacher savs he or 
she has the right method. At the end of a year most 
pupils, who started out with fresh, lovely material, can't 
sing five round, beautiful tones. So you can't blame the 
film people for choosing wrong teachers, as many of 
them are doing. The history of every prima donna has 
been a long list of poor teachers. But somehow they 
manage to sing, for a few years at least. 

There are two surprises awaiting fans who are still 
devoted to old favorites. They are going to be thrilled 
with Gloria Swanson and Bebe Daniels. Both have tine 
natural voices. Gloria has a lovely, lyric soprano and 
Bebe has a warm, sympathetic mezzo. 

Gloria sin^s a snatch of a lilting serenade in her latest 
picture, "The Trespasser." It is incidental to the action 

Gloria Swanson's lyric soprano will be heard for the first time in "The Trespasser," 
in which she sings snatches of a lilting serenade as a hint of what she will do in 

subsequent films. 

of the story, hut it is a tip to fans that some time in the 
future they will hear Gloria sing, perhaps in a role that 
calls for singing exclusively. 

It was almost two o'clock one morning when I heard 
Miss Swanson make the singing scene in her picture. 
I was greatly surprised by the charming quality of her 
voice. Of course, it has been one ni the cherished 
dreams of her lift- to he a sing* r. Very few i pic- know 
that her coming to Hollywood fourteen was 

not for the purpose of embarking on a film career. She 
was looking for a voice teacher to continue the less 
that she had started in Chicago. It was a twist of fate 
that a letter of introduction which she carried to Mack 
Sennett resulted in her becoming a bathing girl, and 
one of the most glamorou the sen 


Come On, Let's Sing! 

Bessie Love, seated on piano, Gwen Lee, Carmel Myers 
pupils of Lillian Sloane from whom they take 

Miss Swanson is seen quite often at the opera. There 
has always been, in my opinion, something about her that 
suggested a prima donna. She is not like Mary Garden. 
And yet she is not unlike her, in respect to pictorial 
effulgence, and magnetism, and something vaguely sug- 
gesting manner. Of course, no- 
body could be quite like Garden. 
There isn't enough vitality in two 
exceptional women to match one 
fourth of what the dazzling Mary 
has. On the other hand, there is 
nobody quite like Swanson. And 
it wouldn't surprise me in the 
least if some time in the future 
she embarked on an operatic ca- 
reer. She would fit well into 
French opera. It's a long, te- 
dious road to get there, but 
Swanson has the advantage of a 
big reputation ; she has native 
talent for singing, a great love 
for music ; she is young, and she 
has, above all, learned to disci- 
pline her mind, which is nine 
tenths of the battle. 

Gloria has been studying with 
a teacher by the name of 
Mark Markoff . She brought 
him West from New York 
solely for that purpose. 

A story appeared in the 
newspapers recently, saying 
that Miss Swanson was plan- 
ning to give a recital in Los 
Angeles in the fall, probably 
to prove that she is not hav- 
ing a double appear for her 
in pictures. It is reasonable 
to presume that the report is 
highly exaggerated, consid- 

ering the length of Miss Swan- 
son's study, and so forth. 

Bebe Daniels is an amazing ex- 
ample of what a well-disciplined 
person can accomplish in almost 
any field. Bebe received the big- 
gest acting-singing plum of the 
year when she was cast for "Rio 
Rita." She determined to learn 
how to sing so that she would 
have no double. The result is 
that in less than six months of 
serious, intelligent study, she 
equipped herself sufficiently for 
the role. It is half dialogue and 
half singing. It is a rather tough 
role for any but a professional 
songbird, but Bebe will make it 
because of her natural gifts of 
voice, her tremendous earnest- 
ness and, of course, her ability as 
an actress. 

I heard her take a lesson one 
day, and also listened to the 
rushes of her voice tests. She is 
studying with Otto Morando, a 
teacher of broad experience and 
highest standing. She takes a 
lesson daily, as do all of the 
players in Hollywood. There are 
periods, however, which are in- 
terrupted, due to studio demands. 
Now the average music student would fiercely object 
to any one's listening to his or her lesson. But not 
Bebe. She said, "Sure, come along. Tickled to death. 
If you can stand it, I can." And to the credit of Signor 
Morando, it must be said that he encourages all his pu- 
pils — -and there are very many — to sing before 
each other and any "visiting delegates." 

It was very thrilling to watch Bebe. She 
literally took her entire vocal apparatus be- 
tween her teeth and shook tones out. No half- 
way measures with her. She either sings, or 
she doesn't. And if she is wrong in her tone 
production, she demands to know why, and 
) Continued on page 108 

Clifford Lott can 
point to "Smiling 
Irish Eyes" as 
proof of his success 
in developing Col- 
leen Moore's charm- 
ing voice. 

, and Leatrice Joy are 
daily lessons. 


Silence Is (jold 



It is truly valuable in the studios nowadays, these 
pictures showing precautions taken to maintain it. 


ter th 

Photo by Brown 

Ziegfeld lured Ruth Morgan from Hollywood to play 
in "Whoopee." 

NO, it wasn't a traffic jam that de- 
layed me," Fanny announced 
airily, as though that excused 
all. "I was walking, and I had to pass 
the Roxy Theater." 

Before I had a chance to gasp "Walk- 
ing?" she was settled in the chair beside 
me, with a wave of her hand had indi- 
cated to the waiter that she wanted 
practically everything on the menu, and 
was all set to go on with her story. 
Fanny really deserves the title of the 
first and only continuous one hundred 
per cent talker. 

"Have you ever tried to get past that 
crowd waiting to see 'The Cock-eyed 
World' ?" she asked as indignantly as 
though I were in some way responsible 
for it. 

"Have I ?" The vehemence of my 
retort stopped her for a minute. "I 
tried regularly every day for a week. 
Finally, one day I waited long enough 
to get halfway into the lobby, but had 
neglected to bring along a box lunch, so 
I fainted from hunger. And where do 
you suppose my rescuers carried me? 
Right into the theater! When I came 
to. I waited craftily until they weren't 
looking, and then I scuttled out of the 
hospital quarters down into the theater, 
thereby beating two or three waiting 






from a 


with a 



5/2? e *E>y&iancler 

"Dear, dear!" Fanny condoled patronizingly. "You 
really ought to get around more and meet important 
people. I went with a newspaper reviewer and all we 
had to do was knock down two or three hundred de- 
fenseless old men, and explain to the door man who we 
were. Then we went right in and didn't have to stand 
more than half an hour. 

"And will you tell me what makes that picture such 
a knockout?" she demanded, not, of course, expecting 
a reply. 

"It wasn't McLaglen, because he has done the same 
sort of thing before, without starting any riots, and 
vocally he's a disappointment. It must have been Eddie 
Lowe, or my old favorite, El Brendel. You'll never get 
me to admit that it was Lily Damita. Women don't like 
Damita. She reminds them too much of the tales re- 
turned soldiers told about their French sweethearts." 

Fanny is right. "As rare as a girl who has a good 
word to say of Damita," is a time-worn simile. I'd be a 
traitor to my sex if I admitted that I admired her per- 
formance in "The Cock-eyed World." Really, she is 
not like that. At least not on the tennis 
courts in Hollywood. She is more in- 
clined to be coy and hoydenish. 

"I think I liked 'The Cock-eyed 
World,' " Fanny rambled on, "because I 
was so relieved that there was no war in 
it. All a picture has to do is to show a 
one-legged man, or play a few bars of 
'Over There,' and I am dissolved 
in tears." 

In which case Fanny has a 
long, hard year ahead of her. 
The war is to be fought in an 
epic way by at least three com- 
panies. Herbert Brenon is to 
make "The Case of Sergeant 
Grischa" for RKO. I suppose 
he knows his business better than 
I do. Do I hear tumultuous cries 
of "Yes, yes"? But still I can- 
not see how he will make a 
picture of the heart-rending 
story of an innocent man's ex- 
ecution and the relentless work- 
ings of red tape. 

Universal will make "All Quiet 
on the Western Front," and 
Tiffany-Stahl "Journey's End." 
They are the three grimmest, most 
heart-breaking dramas of the World 
War. They are just the bewilder- 
ing routine of a small section of the 
war as seen by sensitive individuals. 
"Journey's End" has charming hu- 
mor of a goofy sort, but the others 
have none of the comic spirit that 
inspired the saying that the French 
fought the war for patriotism, the 
English for power, and the Ameri- 
cans for souvenirs. 

But even with such weighty mat- 



Fanny the Fan announces that 
talking pictures have become 
blase and produces evidence 
to show that audiences haven't. 

ters as war on my mind, I kept thinking of 

Fanny's reference to walking. Finally, I asked 
her if there was a taxi strike. 

"No," she said hesitantly, "it's all Hedda 
Hopper's doings. Fven though the country 
separates us, Hedda's good example still hits 
me once in a while. Every time I think of her 
I go in for a sense of beauty and healthful 
living. First, I buy a lot of clothes and then 
I start taking exercise. When I saw how 
gorgeous she looked in 'The Last of Mrs. 
Cheyney' her preachments hit me hard and I 
have been trying to live up to them ever since. 
Fve haunted the Paris openings at the shops 
buying the fragile, feminine clothes that Hedda 
wears; I've walked when I wanted to ride, and 
I've tried to get a night's sleep now and then. 
But the picture openings lately haven't been the 
sort you could sleep through. 

"But speaking of the new clothes" — she knew 
that if she didn't pretty soon I would demand 
that she should — "they will make a lot of dif- 
ference in pictures. The skirts, even on sports 
clothes, are ever so much longer. That will 
hide the only tangible assets some of the 
younger players have. But it may pave the 
way for that long-threatened film debut of 
Aimee Semple McPherson." 

"Just as though Hollywood didn't set its own 
styles," I cut in. "Backstage fashions will still be 
skirtless, and as nearly as I can see the wave of 
backstage stories isn't nearly spent. Billie Dove 
will always be draped in lace in the manner of a 
small-time prima donna, regardless of fashions, and 
Sally O'Xeil will continue to tie sashes tightly 
around a high waist-line." 

"You might just as well know," Fanny cautioned 
me, "that catty remarks about Sally O'Xeil are out 
of order. I have always thought her clever, but 
since seeing 'Sophomore,' she is my favorite crooner 
on the screen. A lot of other girls have 
melodic, cultivated voices, but Sally's is the z£ 

only one that has a childish «^Ml 

note in it." /" 

As though that had anything y/j^ 

to do with her taste in clothes! _^^ 

"You know," Fanny rambled 
on, "producers are getting aw- 
fully blase. They're not satis- 
fied with putting one or two 
stars in a picture. Look at the 
'Hollywood Revue' ! It is so 
crowded with stars it makes 
you want to howl, because just 
as soon as one of your favorites 
gets going, he is rushed off to 
make room for two or three 
more headliners. I like the 

Tears were shed when Gertrude 

Lawrence left the Paramount 

studio for England. 

Janet Gaynor's fate in talking pictures 
still hangs in the balance. 

samples of Marion Davies' and Wil- 
liam Haines' work and wanted a lot 

"Texas Guinan felt the same way 
on the opening night, only worse. 
Honestly, she acted like a child at its 
first show. She was so thrilled and 
excited, she must have worn out 
her rings applauding. She heaved 
and sighed over Charles Khm"s 
mother song, and gasped her re- 
grets whenever a clever turn was 
cut short. Only once did she 
break out into a wisecrack. Dur- 
ing the 'Jewel' number, when for 
no apparent reason, the camera came 
to rest on a long close-up of a very 
blah blonde, she announced loudly. 
'Fanny Ward !' 

"I wish that some visiting Ilolly- 
woodians had been here for that 
opening. The contrast of Eastern 
and Western audiences i< staggering. 
Out West nothing but the shiniest top hat. 
the biggest diamonds, and a record-break- 
ing crop of ermine and marabou will do 
for an opening. But at the Xew York- 
opening the nearest approach to evening 
dress was wilted chiffon and a pair of 

"Film openings are getting awfully im- 


Over tke Teacups 

Fanny decides that Lily Damita's fan following is large 
made up of men. 

portant, though. Texas Guinan and all the Broadway 
regulars attend them, even when a big stage premiere 

"Charles King ought to get a medal for one great mo- 
ment of acting. He was supposed to register deep hu- 
miliation and chagrin when he found that Conrad Nagel 
had a fine singing voice, and he put the idea over un- 
mistakably. But the trouble was that Conrad did nothing 
to build up the scene. 
He just proved that he 
had a heavy, artificial 
voice with a strong, 
nasal twang. 

"When you are see- 
ing shows like the 
'Hollywood Revue' 
and see how hard the 
chorus girls work, you 
begin to understand 
why some of them are 
hurrying back to 
Broadway. Ziegfeld 
brought four of Hol- 
lywood's favorite 
beauties East to play 
in 'Show Girl' and 
'Whoopee.' And are 
those girls happy? 
Evelyn Pierce and 
Ruth Morgan never 
had to worry about 
being out of work in 

the studios. Every time a director wanted a couple 
of beauties to dress up a scene, theirs were the first 
names that came to a casting director's mind. But 
working in pictures nowadays is just like playing 
in a super-stock company, where a new show is 
put on every week, with entirely new songs and 
dances. It means eight hours of work every day 
and continuous dancing and singing lessons. But 
in 'Show Girl' the girls get just as much money, 
and after learning the routine of the show they are 
all set for a year's run, if not longer. Eight per- 
formances a week, doing the same things over and 
over again, is a lot easier than eight hours a day, 
continually learning something new. 

"Chorus girls aren't the only sufferers from the 
epidemic of tap dancing in pictures. Stars have to 
learn, too. It seems to me that every time I pick 
up a newspaper, or get a letter from the Coast, I 
learn that Janet Gaynor has just collapsed from 
the strain." 

"But I thought " 

But Fanny was not in the mood to be inter- 

"Yes, you thought the Fox officials disapproved 
of Janet studying dancing. That shows how their 
convictions shift with changes in pictures. Three 
years ago they put up an awful holler, because 
Janet went to Walter Wills' dancing school twice 
a week for taps and waltz clogs. They said the 
exertion was too much for her, that it was ruinous 
to her health, et cetera. Now they want the poor 
child to learn, in a few weeks, dance routines that 
would be difficult for a seasoned hoofer." 

"What are they doing about her voice ?" I asked 
by way of being unpleasant. 

"They don't have to do any tiling about her 
voice," Fanny retorted, but her tone lacked sincer- 
ity. Fanny knows as well as every one else that 
the lovely, ephemeral Janet of the silent drama was 
displaced by a realistic and almost humdrum per- 
sonality when she spoke. But there is always hope. 
Miracles are daily being performed in training Holly- 
wood voices, that is, with all except Dolores Costello's. 
"Vilma Banky's been given a clean slate, or a diploma. 
or whatever it is that diction experts give players as 
evidence that they have conquered their 'o's' and 'k V 
and 's's.' Vilma has been studying for months with 
Jane Manner. Part of the course of study is to watch 

your lips in a hand 
mirror to see if you 
are forming each let- 
ter perfectly. I am 
anxious to see rather 
than hear the result. 
If it is as grimace-y 
as I fear, I am all for 
having voice doubles 
speak lines offstage, 
while pretty girls like 
Vilma restrain their 
faces in the old silent- 
film manner." 

Well, you can't very 
well please every one. 
Many fans object to 
the use of voice 

Gloria Swanson bursts 
into song by way of 
denying to interview- 
ers that she has a voice 

Photo by Bachtacb 

Ov>er the Teacups 


doubles. They tnink that players who use them 
are cheating. And here is Fanny in favor of pre- 
serving the illusion of a star's beauty at any cost. 
It seems to me that the best solution of the prob- 
lem is to move the camera way back whenever a 
player opens his mouth a la Grand Canyon in 
reaching for a note. 

"Gloria Swanson has a marvelous way of an- 
swering people who ask her if she really does her 
own singing in 'The Trespasser.' Without clear- 
ing her throat, or snapping her fingers for an ac- 
companist, she simply breaks into song. Her voice 
is one of those charming, naturally melodious ones 
that never has to feel its way round for true pitch. 

"Gloria was in one of her lovely, joyous moods 
when she stopped off here on her way to Europe, 
and when Gloria is happy there isn't a more gra- 
cious human being to be found anywhere. When 
she is worried, she becomes aloof and goes into 
portentous silences. But on this trip she went 
through the most grueling experiences as gayly 
as a lark." 

While Fanny was speaking, I was wondering if 
larks really are gay. If a casting director for 
sound effects were asked to find a gay lark, could 
he? I heard of one who had a lot of trouble 
searching for a bell that would live up to the de- 
scription "As clear as " Dear, dear, what 

troubles these sound effects have caused ! One 
man was headed for a madhouse after trying to 
find a Yiddish-speaking parrot and some baritone 
crickets. I snapped out of my reverie to find 
Fanny still ranting about Gloria. 

"How she ever stands the strain I can't see. 
This is supposed to be a vacation for her, but ten 
photographers met her at the train, and there 
were as many more waiting at the hotel to take 
pictures of her in lounging 
pajamas. In two hours she 
talked to twenty-three inter- 
viewers, and when she stole 
off to see Dorothy Stone, in 
'Show Girl,' some more 
newspaper men spotted her 
and rushed up to ask ques- 
tions. She expects to make 
personal appearances at the 
premiere of her picture in 
London, Brussels, Paris, and 
Berlin. What a vacation !" 

I do hope that some one 
has notified both Gloria and 
Cecil DeMille that a bath- 
room is now on display at 
the Metropolitan Museum of 
.Art. As pioneers in the 
movement to exploit bath- 
rooms as works of art. they 
should be told that their 
campaigning has broken down 
the reserve of the most con- 
servative of institutions. I 
wouldn't even mention mu- 
seums to Fanny, though. 
She wouldn't understand any 
one going to a place where 
movies are not shown. I 
doubt if she ever even de- 

Anna May Wong's triumphs 

in Europe are social as well 

as professional. 

Evelyn Pierce is another who gave up Hollywood to play in 
"Show Girl." 

veloped an ambition to go 
to Sing Sing until she 
heard that they had in- 
stalled talkies there. 

"Wouldn't you love to 
go to Europe now ?" she 
asked in a burst of en- 
thusiasm. "There are so 
many American stars in 
England and France it 
must be terribly exciting." 

And to think that some 
misguided souls go over 
just to see a few old ca- 
thedrals and remnants of 
aristocracy ! They would 
never rate as real movie 
fans comp a red with 

"John Gilbert and Tna 
Claire are in London. 
Reginald Denny is in Eng- 
land to make pictures. 
Adolphe Menjou and 
Kathryn Carver will 
in France to make ] pic- 
tures, while that old in- 
patriatc. Rex Ingram, is 
coming back home I 

:hool and learn about 
talkies. But the real sen- 
Continued on page 94 


Back Home — and Happy 

You won't see Tom Mix in any new pictures for some time, for he has run away from Hollywood 

and joined the circus he trouped with twenty years ago. 

By Helen Klumph 

IT was that dusky-blue hour before dawn, when the 
seemingly endless yellow cars at the Sells-Floto 
Circus rumbled into the railway yards at Stamford, 
Connecticut, and came to a halt, All was quiet in the 
town, but hardly had the first elephant bellowed his 
"Ugh-eee!" of command to his twelve teammates to 
link trunks and tails and plod down the runway to the 
ground, when a scrambling, hustling army of little boys 
appeared out of nowhere asking, "Where's Tom Mix's 

For weeks the countryside had been placarded with 
posters proclaiming that the one and only Tom Mix, 
with his famous horse Tony, would accompany the 
mastodonic pachyderm marvels, the Hanneford family, 
the breath-taking aerialists, the almost-human seals, and 
the man who at each and every performance was shot 
from a cannon. The silent theater that had done little 
business since the talkies came in down the street, re- 
vived one of his old films and cashed in on the impatient 
interest in Tom Mix aroused by the circus posters 

Excitement was at fever heat when the circus trains 
began to disgorge, the army of workers who 
skillfully slid the flamboyant scarlet-and-gold- 
encrusted wagons from the flat cars to the 
ground. Everywhere underfoot, jostling, 
tripping, and miraculously dodging, was that 
swarm of little boys who piped constantly, 
"Where's Tom Mix's car?" "Can I carry 
his bags?" "Is he awake yet ?" It would 
have been strange if he weren't, in all 
that tumult and shouting. 

Finally one of the circus men let out 
the secret that Tom Mix's private car 
was the dark-colored one among the 
stream of yellows, and the boys swarmed 
in that direction. They climbed upon the 
platform, they piled 
up boxes to stand on, 
bringing their faces 
to window level so 
that if by chance 
Tom Mix should 
raise the shade, there 
they would be look- 
ing at him up close. 

Fifty of them 
were lured away by 
the promise of a job 
helping to unload at 
the circus grounds. 
But the crowd that 
stayed filled the 
space between the 
two trains. When 
Tom came out on the 
platform for a breath 
of air before break- 

fast, a shout went up, and there was a chill of dread in 
some hearts that he might be annoyed and distant with 
them. They had met stars before, who wore their geni- 
ality only during a personal appearance at a theater. 

"Hi there, boys!" he called out breezily. "Why didn't 
you let me know you were coming over, so I'd be up?" 
Thunderstruck by this friendliness, one youngster al- 
most toppled off the leaning tower of boxes he had 

"Whoa there," Tom cautioned, grinning broadly, 
"you can't ride Tony if you can't keep your seat better 
than that." 

When he went back into his car with a wave and 
"See you later," he could have enlisted an army of 
boys to follow him wherever he willed. "Oh, boy!" 
one of them ejaculated, thumping his little brother on 
the back. And then again, as though further words 
failed him in this great moment, "Oh, boy!" 

Over at the circus grounds the reserved seats were 
sold out and the general admission section was jammed 
an hour before the afternoon performance. Patiently 
Tony had stood while admiring throngs gaped 
at him. And then at last the great moment 
came. The calliope puffed, the band rose to a 
crescendo and into the tent came the parade, 
with Tom Mix on Tony in the lead. The clatter 
of applause and shouts vied with the band, the 
animals behind snorted impatiently, and the 

Oriental beauties am- 
bled along unnoticed 
as Tom stopped at 
everv section to wave 
and call "Hello!" 

It was a youthful, 
grinning Tom Mix who 
greeted the crowd ; a 
man who had shed 
twenty years since leav- 
ing the cares of Holly- 
wood and coming back 
to life in the open. 
When he wasn't in the 
ring putting his trained 
horses through their 
paces, or dashing here 
and there at breakneck 
speed with his yelping, 
stunting cowboys, he 
was standing over by 
the band stand, looking on as eagerly as though 
he had never seen it all before. 

Just before the evening performance I went 
back to his dressing-room tent to see him. 
Tom is one of those people you always want 
to see again. In those hurried minutes be- 
fore he made his entrance, he didn't have to 
assure me that he was enjoying life these days. 

Continued on page 109 

"Everything in 
the circus is 
so real it 
makes Holly- 
wood look like 
— Tom Mix. 


Melodious Sxtfains 

Now it's with music and song that screen lovers win 
— or lose — their "proud fairs." 


Joe E. Brown, above, strums his guitar and sing*- 

to Marion Byron, in "Song of the West," but 

it must be a sad ballad. 

Nick Stuart, center, warbling trustingly under 
Sue Carol's window in "Chasing Through 
Europe," is about to get a flower, pottery 
and all. 

In "The Delightful Rogue" Rita Le Roy, below, 

is the inspiration for soothing strains by Rot 

La Rocquc. 

Dorothy Sebastian, above, has 
no taste for Jack Benny's per- 
formance on a Chinese fiddle. 

Bessie Love, below, also has 

unromantic ears, and John 

Mack Brown's 

. music is just wast- 

4 ing itself. 


Pliotu by Richee 

STARS may come and stars may go, but a good actor 
goes on forever. Look at William Powell. If you 
can think of a better example for the point at issue, 
name ten. All right then, look at William Powell. 

In the beginning, it was decided that there would have 
to be some compensation for the histrionic deficiencies 
of the majority of stars. So that was when William 
Powell made his cinema debut. Since which time he has 
blithely, and quite without malice, stolen more pictures 
from the players he has supported than any other actor. 
Many a star long on eyelash, but short on brain wave, 
has been baffled by Mr. Powell's suave theft of scenes, 


A brilliant resume of the character and career of one of 
the most adroit and sure-fire stars. 

By Margaret Reid 

and has pouted in corners as a result— and has discovered 
dismally that there was nothing to be done about it. 

It is a little unreasonable that Powell is such a fine actor. 
Or, if he must do good work, the least one can expect of him 
is adherence to the Hollywood precept of one contract being 
better than another, not because of the additional thousand 
dollars it entails, but because of the additional opportunities 
for dramatic expression. It has made more than one boule- 
vardier shudder fastidiously when Bill Powell has bluntly con- 
fessed that he is in pictures solely to make money. Such vulgar 
frankness is not quite cricket around the cinema capital. 

But that is his story and he sticks to it. The making of 
money is his primary interest. If, in so doing, he has a picture 
now and then in which he can take an intelligent pride — well 
and good. But if not, his heart doesn't bleed with artistic 
frustration. He is sorry, but not as sorry as he would be if 
there were a cessation of pay checks. 

At one time, the tremendous glory of being a Thespian was 
all that Bill Powell asked of life. During his college years, 
when his trusting family still thought their boy was going to be 
a lawyer, he was lending most of his energy to college dra- 
matics. Pedagogy left him cold and when, during vacations, he 
worked in a telephone office, and then in a haberdashery, the 
glimpse afforded him of business routine was distressing in the 
extreme. Deciding that he would be the last person in the 
world to drown artistic genius in a business career, he left 
college and took the flower of Kansas City dramatic talent to 
New York. 

In the American Academy of the Dramatic Arts, young Wil- 
liam Powell learned many disconcerting facts about what was 
wrong with his interpretations. Undaunted, he threw himself 
into study with great fervor. New York was enchanted ground, 
and he was to be its chosen. 

On leaving the academy, he proved to be no Merton, but 
rather a good advertisement for his teachers. He had no diffi- 
cultv in obtaining roles. For several years thereafter he worked 
steadily, principally in New York, now and then on the road, 
gaining constantly in repute. He was doing, altogether, ex- 
tremely well. 

And then, gradually but surely, the pleasure of hearing him- 
self talk before an audience began to 
dwindle in importance. The first 
thrilling luster of the footlights wore 
off, and he realized that there was a lot- 
in life besides acting, that there were 
countless places he wanted to go, 
things to see and to do. And he wasn't 
becoming rich enough to do them. 
Straightway he decided that what he 
must do was to find a better business, since only a select 
few stage players ever become really wealthy. 

Having heard much about the inviting salaries of the 
movies, Powell made several attempts to get one of 
them, but without result. Then one day, when he was 
enjoying the questionable glory of five successive artistic 
successes — that is, commercial flops — he ran into Albert 
Parker in the Lambs' Club. Parker was about to begin 
direction of John Barrymore, in "Sherlock Holmes." 
and asked ^Powell why he didn't come along and play one 
of Moriarity's henchmen. Unable to think of any reason 
Continued on page 104 

Many a star long on 
eyelash, but short on 
brain waves, has been 
baffled by William 
Powell's suave theft of 
scenes, but nothing can 
be done to stop him. 


Photo by Homme! 

THOUGH William Powell might well prate of his art and his 
philosophy, he eliminates both by saying- that he is in the 
movies for money with which to enjoy himself later, this being but 
one of Margaret Reid's discoveries in the story opposite. 


"T^HE singing screen revealed to John Boles the promised land 
' he hoped for, but never quite attained in silent pictures, and 
now he is to scale greater heights in a musical film based on the 
life of Rouget de l'lsle, composer of "La Marseillaise." 

Photo by Freulich 


Photo by Russell Ball 

SERENELY Louise Dresser contemplates the opening of the 
new movie season, for she finds her fans doubled by her 
increased appeal in the talkies and promises them, in "Twelve 
Hours of Love" and "Three Sisters," thrilling reward for their 


\17HAT can orchidaceous Olive, the beauteous Borden, know 
»» of love by halves, when sweeping completeness is so 
obviously her destiny as long as there's a man alive? Let the 
screen answer the question, for her first dialogue picture is "Half 


Fholo hy Otto Dyir 

OF all the younger players, none has more fully realized the 
promise his acting held than Richard Arlen, to whom 
speech has proved no stumblingblock, but a means of making 
every role more vital. And his reward is full-fledged stardom. 



MARY DORAN first attracted notice in "The Broadway 
Melody," as the hard-boiled vaudeville performer who paired 
off with Bessie Love when Anita Page married and broke up the 
act. Well, you'll see her again in "The Girl in the Show." 

Photo by Ruth Harriet Louise 



Photo by Ruth Harriet I-ouii 

"THERE'S everything in the name when it's for the screen. 

* For example, John Mack Brown is just like his — an everyday 

chap, a composite of the crowd, or the group strumming ukuleles 

>n the porch. That's why he's popular. Or is it something else? 


AGAINST everybody's advice Irene Rich ventured into vaude- 
ville and promptly became a different person — so different, in- 
deed, that her doubtful voice became a charming one and she was 
recalled to Hollywood, as you will learn from the story opposite. 

Photo by Bussell Ball 

1 1 

Irene Rich and her daughters by her first marriage, Frances, left, and Jane. 

Irene Is Made Ov 


Just when her screen career was stagnating and her future uncertain, Miss Rich took a flyer in vaudeville 
and found a new personality and the secret of renewed success. 

By Myrtle Gebkart 

WHERE, I wondered, as she sat across the table, 
tailored in blue, her manner jaunty, and her 
merry eyes shining, was the Irene Rich of re- 
sponsibilities and rules? She in whom, if ever there 
had been any chance turbulence, it was instantly cur- 
tained with a well-bred calm ? 

Gathering her courage in one final effort to fight off 
professional stagnation, she had taken out a vaudeville 
act, and had turned the failure predicted for it into 
success by being herself. 

Dulled into routine's security by poverty's reminder 
and a family's necessity, for a long time she dared not 
involve her career, though it was gradually slipping 
down grade, by pursuing" endeavors of chance. Always 
her desire to go on the stage was shelved as an unrea- 
sonable and foolish dream. Lack of confidence in her 
own powers Avas her bete noire. 

Practicality overlaid her manner, her every thought. 
Life itself had a much-pressed air. Her capability in 
many guises was evidenced, even stressed; one almost 
resented her skill in coordinating the duties of career and 
home, with so little friction. Making a cult of con- 
servatism, she was too thoroughly nice. 

But certainly she did not express the strong convic- 
tions, italicized by gestures, to which she gives vent 
now. Why, once or twice during our talk, instead of 
compromising as she used to, she was absolutely opin- 
ionated ! I wanted to get up and cheer, and in sheer 
surprise might have done so, if we hadn't been so con- 
tinuously interrupted by the glad greetings of her 

Her excursion into vaudeville refashioned her into 

buoyancy. It dimmed the faint lines which were be- 
ginning to etch that set-in-a-mold look; it fluffed her 
conversation. Vivaciously fluent, her repartee is keenly 
pointed, at times pungent; she broadcasts verve, and an 
electric interest in everything and everybody. Her very 
thoughts seem to leap and hum. 

The success of her tour was largely <\uc to her un- 
ostentatious, intimate manner. Her sketch had a light 
cleverness, hi her public appearances she wore frilly 
clothes, which site invested with that spontaneous, youth- 
ful charm nullified by the camera and te roles 
so frequently allotted to her. 

The friendliness of her curtain speech, with its timid- 
ity, quite won everybody. She was no movie Star, mak- 
ing a personal appearance. Explaining that this articu- 
late venture was undertaken as a test of her vocal abil- 
ity, the simplicity of her address accomplished an appeal 
beyond rhetoric's power. It had an air of. "I'm trying 
to put tin's over — will you help me?" which went strai 
to people's hearts. That sincerity was a reflection 

The tour was beneficial in a number of ways. It de- 
loped her voice, taught her some >kill in its projecti 
tge, and nuance and brought out a clear, crisp tone. 
It gave her poise and self-confidence. If ever again a 
rut threatens her. she will break ou1 of it with quicker 
courage and energy. Most important o\ all. was the 
public's introduction to the real Irene Rich, lovely, 
spirited, gay. 

"Why. you're- so much younger than we expected!" 
fans exclaimed invariably, in surprisi mre. 

Continued on page 115 


Dance, Baby, 



Elliott Nugent and Phyllis Crane 

show their gyrations in "College 

Life" and dare you to go and do 


The first movement, left, shows the dancers 

rocking from one foot to the other in this 

pleasant, chummy fashion. 

Jumping to the fifth movement, right, Mr. 

Nugent and Miss Crane grab hands in 

mid-air and embark upon a fox trot. 

The second movement, above, shows 

the position assumed after the dancers 

have wheeled about, keeping time with 

the knees. 

Third, right, has the dancers starting 
on a hopping glide, changing their 
foot positions with every third hop. 
Can you follow this? If not, blame 
those who started you going. 

The fourth movement, left, consists 
of spinning around and gliding side- 
wise, if by now you aren't too dizzy. 
We are, after trying mentally to 
dance the steps. 


Calm As the 

Though Marguerite Churchill, heroine 
of "The Valiant," is one of the few 
stage players to make a sympathetic 
impression on the screen, she is neither 
excited nor influenced by Hollywood. 

B$ William H. McKegg 

STXCE the talkies swept over Holly- 
wood, every one has been sunk in a 
whirlpool of contemplation, discus- 
sion, comparison, and distraction. One of 
the chief factors causing this upheaval has 
been the arrival of a number of players 
from the stage. Many have come — in fact, 
so eager were producers to engage trained 
voices, that some players were almost kid- 
naped and dragged westward, like recalci- 
trant victims for sacrifice to a new cult, 

Of the scores of stage actors who came, 
scarce a handful remain. In many cases, 
one screen performance was given and the 
players returned to Broadway, probably 
quite willing to stick to their old jobs, and 
not enter new fields. The few that remain 
and are likely to become well known, al- 
most assume the likeness of extraordinary 

It is a little too late for me to state that 
Marguerite Churchill is likely to become 
one of the exceptions. She has proved 
herself to be one already, so I am done 
out of appearing as a prophet. 

Under contract to Fox, Miss Churchill 
played in a couple of short talkies. Prob- 
ably her willingness to be told things earned 
her the lead opposite Paul Muni, in "The Valiant." 

Most stage players, who have played leads on Broad- 
way, would have turned up artistic noses at the sugges- 
tion that they act in anything like Clark and McCul- 
lough's "The Diplomats" and Robert Benchley's "Fur- 
nace Trouble." 

Not so Marguerite. She knew nothing about pictures 
and didn't pretend to. She realized that she had come 
upon something entirely foreign to anything she bad 
ever done before; she was not adverse to being guided 
while she studied the new medium. 

I could name one or two stage players who came to 
Hollywood and regarded the talkies with condescend- 
ing mien, posing amid theatrical grandeur. Where arc 
they now? 

But to return to "The Valiant," to prove that some 
stage recruits face happier endings. 

If you saw this picture, you must have noticed Mar- 
guerite Churchill's poignant acting — and her exquisite 
hands. She can do more with her hands than other 
players can do with their entire bodies. I shall return 
to her hands later on. Keep them in mind. In the 
meantime, before it is too late, you must hear what she 
has done from her earliest years to the present time. 

Kansas City claims her, because she was born there 
on a Christmas Day — which makes her no ordinary per- 
son to begin with. 

Though brought up in the atmosphere of the theater, Miss Churchill 
wears none of its tinsel. 

New. York has been chiefly her abiding place, though 
she lived more than a year in Buenos Aire-. 1 ler father 
bought a chain of theaters in South America, and took 
Marguerite and her mother with him to the Argentine. 
Marguerite returned eventually to the I "nitcd State-, 
crossing the Andes up to Lima, and taking a ship from 
there, through Panama, and back to New York. 

Then she entered the Theater Guild School of Acting. 

I ler first professional role was the ingenue in "Why 
Not?" She must have been good, for she became the 
youngest leading lady on Broadway, playing in "The 
House of Shadows," "The Small Timer," "The Alimoni- 
acs," "Skidding." and "Night Hostess." Her most 
prominent success was in "The Wild Man of Borneo." 

It was while playing in the last that Winfield Sheehan, 
vice president of Fox, saw her. Right away he sought 
her out and signed her, and thus Marguerite came to 
Hollywood with her mother and grandmother, to learn 
what it was all about. 

I found her in a Beverly Hills abode of Spanish archi- 
tecture. A large bell clanged when I pushed open the 
iron gate and entered a patio. I expected to see Raiuomi 
run out and greet me. but Mi-- Churchill appeared in- 
stead, not running, but gliding gracefully like a sylph. 

She stood in the open doorway wearing a dr< - 
some veily stuff — you know the kind I mean. In the 
dusk it gave her the appearance of being enveloped in 


Calm As the Night 

Marguerite Churchill's exquisitely formed and eloquent 
hands attracted attention on her first appearance. 

faint mists. She has dark-auburn hair, with touches of 
bronze in it. Her slender arms are beautiful, and her 
hands are the most perfect of their kind. What was 
that, Johnny ? Her eyes ? Well, believe me, old chap, 
they are confoundedly large, a deep velvet-brown. They 
hint of unfathomable depths, and mystic things and 
secret quests and — well, then we went inside the house, 
for Mrs. Churchill was approaching to learn why the 
interviewer was such a long time coming in. 

Though practically brought up in the atmosphere of the 
theater, the Churchills possess none of its tinsel. They are 
well-bred gentlefolk. 

We talked of many things — from cabbages to kings. Mar- 
guerite sat curled up at one end of the settee, her arms and 
hands in graceful postures, like pieces of sculpture. 

Hollywood ? She had been here only six months, and knew 
scarcely any one. 

"Mother and I have been invited to a few places, and have 
enjoyed ourselves very much, but I am still quite a newcomer. 
My director, William K. Howard, is a delightful man. He is 
both clever and entertaining." 

"You won't like most of the receptions," this individual put 
in, being determined to discourage the newcomer as 
much as possible ; whereupon he spoke thus and thus, 
as Mr. Arlen would say, about Hollywood receptions, 
their meanings and results. 

Marguerite looked incredulous and said, 
"Oh/ surely not ! ■ But we scarcely know any 
one yet." Then her mother entered, after a 
short absence, carrying three large glasses of 
orangeade. I hesitated, because I am good 
and insist on observing the law, and said, "Is 

— it " 

Mrs. Churchill smiled and reassured me by 
saying, "No, it's only orangeade — the strongest 
drink you'll get here." 

Moving the sprig of mint aside so it wouldn't 
tickle her nose, Marguerite remarked over the 
rim of her glass, "I always feel as if there is 
something dreadfully wrong with me when a 
drink is offered me and I refuse. I get such 
surprised looks, and am deemed a 'good little 
girl' ! One would think I had to put up some 
big mental fight in refusing, when I decline 
merely because I wish to." 

Embarrassment on this point was also felt 
by her mother. 

"I feel more uncomfortable than Mar- 
guerite," she said, "for I always think the 
others believe Marguerite refuses because I am 
there — that she'd accept, if I were absent." 

Marguerite was in the midst of her new 
picture, "They Had to See Paris," with Will 

Did she find tne studio rather startling after 
the stage? 

"Not at all. I had never been inside a studio 
before I had my test taken, and until I came 
out here," she explained. "There 
was nothing to frighten me, though 
everything was new. What amuses 
me is that most of the picture 
people depend so much on the 
camera. They must stand at cer- 
tain angles, their faces must be 
seen, they say, or how can they 
act? I think you ought to be able 
to act as much with your back as 
you can with your face." 

She did not mention acting with 
her hands. In fact, this young 
actress will not talk about any- 
thing that gives herself a com- 
pliment. But I'll tell you. 
^ \ Marguerite Churchill's hands 

lpjyK\ are so beautifully expressive 
that she does not have to face 
the camera to let an audience 
know what she is thinking. 

But didn't the scattered con- 
tinuity of studio acting make 
it difficult to get into emo- 
tional moods? 

"Not to me," Miss Church- 
ill gayly denied. "For in the 
first dramatic scene I had to 
play, I got the fright of my 
life. A violin and organ com- 
menced something like 'Hearts 
and Flowers.' Instead of 
pitching me into the depths of 
pathos, I burst out laughing. 
I said, 'Please stop the music ! 
I get better results without 
any.' You see — on the stage 
you have to act without musi- 
cal atmosphere. It is not diffi- 
cult." [Continued on page 110] 


He Dug His 

Wa? In 

Guinn Williams entered the movies by means 

of a pickax, but it has taken him ten years to 

reach the inner circle. 

By Helen Louise Walker 

never have been in pictures if he hadn't 
been commissioned a second lieutenant in 
the army. 

And he entered pictures in a novel manner. He 
dutj his way in — with a pickax. Honestly! And 
if his horse hadn't died, and if it hadn't been for 
that plumber, and if he hadn't had such well- 
developed muscles in his arms — everything might 
have been different. 

Oh. well, all right! I know it sounds involved. 
But I'll straighten it all out in just a minute. 

We'll begin with the commission and work 
along from there. It was like this. Big Boy 
joined the army during the War and won his 
commission when he was nineteen. After the 
armistice was signed, he went home to the ranch 
in Texas and found that his father had secured 
an appointment for him to go to West Point. 

Big Boy was a little dismayed at the prospect, 
lie had already had quite a lot of army lite — and 
he had made other plans. 

''You see," he drawls, "I 
figured that I was already a 
second lieutenant. The idea 
seemed to be for me to go 
and work like everything for 
four years at West Point, 
and when I got through — I 
would be a second lieutenant ! 
Seemed kind o' silly ! So I 
said I'd rather play baseball. 
I'd had an offer from the 
White Sox." 

The elder Williams didn't 
care for that. They couldn't 
seem to compromise on their 
divergent plans for Big Boy's 
future. So Big Boy left 

Baseball, it seems, didn't 
wear so well, and it wasn't 
long before Big Boy was 
wandering about the country, 
cashing in upon his early 
ranch experience by riding 
and roping in rodeos. 

What more natural at this 
point than that he should 
come to Hollywood to do 
stunt riding in pictures ? 

He arrived with two dol- 
lars and a half in his pocket 
and looked about him for a 
motion-picture studio. He 
found Larrv Semon and his 

Photo ! iv Fryet 
Guinn Williams, nicknamed "Big Boy," was born 
on a Texas ranch, and much of that environment 
still clings to him. 

In "Lucky Star" he is the villain to the hero of 
Charles Farrell, left. 

company working out of doors 
on a comedy. Here is where 
the pickax enters the story. A 
large hole in the ground was 
required for the picture and 
Big Boy, standing by. consid- 
ered that the efforts of the 
workmen employed to dig the 
hole were distinctly half- 

"I hadn't had any exercise 
for days." lie said. "I went 
over to a man and said. 'Say! 
Would you lend me your pick 
for just a minute?' The bird 
was glad enough to turn it 
over to me. and I tore into 
that hole like nobody'- husi- 
ness. Pretty soon everybody 
began to watch me — I guess 
they thought it was funny that 
anybody could he so enthusi- 
astic about digging! Semon 
came over and asked me if I'd 
like to do some work in coin<-- 

See" What did I tell you ? 

lie still had the notion that 
a hard-rifling cowboy should 
make good in Westerns 
he drifted out of comedies, 
and sought employment in the 
wide-open epics. 


He Dug His Wajl In 

Photo by F W v 

Big Boy eats steak for breakfast, because 
"you gotta have muscles to act," he says. 

"I found out that in the old- 
fashioned, cheap Westerns they 
had a good-looking guy for the 
lead, and had somebody who could 
ride to double for him. I got to 
be the double," Big Boy relates 
mournfully. "But I wasn't licked 
yet. I thought I'd get me a good 
horse and train him the way Fred 
Thomson and Tom Mix had — and 
I'd get to do some pictures where 
I could do my own riding. 

"Well, I got the horse. And, 
say ! What a horse he was ! I've 
ridden horses and broken 'em, and 
worked with 'em all my life, but 
I've never seen a horse like that 
one. Beautiful, intelligent, gentle, 
easy to train, spirited — he had 
everything. I spent a lot of time 
and money on him — getting ready 
to make pictures with him. And 
then he took the flu and died. 

"That did nearly finish me. 
After that I had appendicitis, and 
the doctor said I wasn't to get on 
a horse for at least a year." 

There was a lugubrious silence 
at this point in the narrative. We 
were lunching: at the "Munchers" 

Charles Farrell and Guinn Williams v^/ 
are real pals, but they don't talk about it. 

l'lioto by Kahle 

on the Fox lot, and Charles Farrell joined us. 
Charlie and Big Boy are great pals. 

"Tell her about the plumber!" urged Charlie. 
"Oh, the plumber! That was a part in a pic- 
ture," Big Boy explained. "It was an independent 
picture, and it wasn't so much of a part, but I was 
plenty glad to get it. It turned out to be a pretty 
good role for me — an easy-going, good-natured, 
funny, diamond-in-the-rough sort of chap. Lots 
of comedy. And it went over pretty well." 
"Pretty well!" snorted Charlie. 
"Very well," admitted Big Boy. "I've never had 
an idle moment since. Of course the role in 
'Noah's Ark' did me a lot of good. It was the 
same type of character. 

"Funny thing about 'Noah's Ark.' When George 
O'Brien and I got those parts in that picture, we 
thought it was on account of our ability as actors. 
We felt pretty good about it. Or at least I did. 
But we figured out afterward that we weren't 
chosen because we could act at all. Uh ! Uh ! We 
were picked because we were husky guys who could 
pack a lot of weight without collapsing. 

"You know — you saw the picture. George had 
to carry Dolores Costello all around, and I had to 
carry about two tons of suit cases ! You gotta have 
muscles to act in pictures like that one. There was 
hardly a scene where we didn't carry something." 

He looked extremely adequate as a candidate for 
muscular roles as he sat stowing away roast beef, 
while Charlie toyed with chicken salad. Big Boy 
urged his friend to have a "steak or something" 
and insisted, worriedly, that he eat a piece of cus- 
tard pie with cream on it. 

"When I first knew Charlie, he didn't eat any 
lunch at all!" he told me in a for-heav- 
en's-sake voice, adding, "I eat steak for 
breakfast !" 

And Charlie volunteered 
proud remarks about how well 
Big Boy was doing in "Lucky 
Star," Charlie's new picture in 
which Big Boy plays the 

"I wasn't a bit sure I wanted 
him to do this part," Charlie 
said, "though of course I 
wanted him to work with me. 
It's a real heavy, you know, 
and I thought it might not be 
good for him. He has played 
those lovable characters for so 
long that he has made a name 
for himself in them. But he's 

doing awfully well in this 

I guess it won't hurt him. 
What do you think?" 

I was sure it wouldn't harm the 
big actor in the least— which seemed 
to relieve the Farrell boy amazingly. 
There is real affection between these 

They were going out to Big Boy's 
ranch to ride that afternoon, it being 
Saturday and the director of 
"Lucky Star" having a desire to 
play golf, which released the com- 
pany from work. 

Big Boy's cowboy proclivities 
persist, you see, even after ten years 
in Hollywood. He has a miniature 
Continued on page 111 





These movie folk may be merely suggesting a fad for golfers 
and college freshmen. 

Edmund Lowe, be- 
low, wears his beret 
at a cocky angle, as 
he docs all his lids 
from topper to tin 

Nothing like the beret for 
golfing and motoring, says 
Charles King, above, in in- 
dorsing the brief headpiece. 

Morgan Farley, above, a former 

stage player, seeks comfort above 


No ordinary headdress, this, for 

Basil Rathbone, below, imported 

it from Paris. 

Conrad Nagel, 
right, looks you 
in the eye and 
dares you to take 
off his beret, if 
vou don't like it. 


AT last there is some chance to discover who's 
who in movie-talkie Hollywood. So many play- 
ers have been signed up, that it has been almost 
impossible to discriminate between the wheat and the 
chaff, so to speak, until right now. A whole host of 
debuts will be made this fall and winter, and here are 
some of the nominees for applause and attention. 

Marilyn Miller, dazzling song-and-dance idol of mu- 
sical comedies, who will be seen in "Sally." 

Ann Harding, suavely charming actress of "Paris 
Bound" and Ronald Colman's "Condemned." 

Irene Bordoni, French-accented and piquant come- 
dienne appearing in "Paris." 

Joan Bennett, registering already in "Bulldog Drum- 
mond," and the busiest leading lady in filnidom. A 
cameolike beauty. 

Maurice Chevalier, whose first real opportunity comes 
in "The Love Parade." He has been seen already pleas- 
antly, in "Innocents of Paris," though it was a poor 

Moran and Mack, who should, like the Marx Brothers, 
be good for one round of laughs, anyway. They're 
the "Two Black 
Crows" of vaude- 
ville fame. 

George Arliss, 
superlative charac- 
ter actor. 

Other possibili- 
ties include Dennis 
King, Ina Claire, 
Constance Bennett, 
the Duncan Sisters, 
and little Helen 
Chandler, who is 
cast in "Salute," 
with William Jan- 
ney and George 
O'Brien, and Cath- 
erine Dale Owen, 
leading woman for 
Jack Gilbert, in "His 
Glorious Night." 

It's almost a grab 
bag out of which 
any one can take a 
pick, when it comes 
to other possibili- 
ties, and one thing 
is assuredly a fact 
— stage prominence 
won't mean a thing 
for the success of most of the film newcomers. They'll 
have to make good all over again. 

Ooh, La, La, Maurice! 

The talk of the town is Maurice Chevalier, and yet 
one must regard with puzzlement the news that he has 
gone back to France. Of course, it is said that the trip 
is only for a visit, but then, who knows ? Will he re- 
turn or not ? One remembers the case of Emil Jannings 
and other artists considered exceedingly popular. 

At all events, Chevalier made his big personal hit at 
the premiere of "The Four Feathers." He was master 
of ceremonies for that function, at the United Artists 
Theater, and instead of taking his duties seriously, he 
very cleverly burlesqued them. He travestied particu- 
larly that type of star introducer, who. while he is talking 
to the audience, walks back and forth across the stage. 
He gave the impression that he was doing a sort of 

Chevalier has a real understanding of American audi- 

Photo by Hesser 

Edward Hillman, Jr., gives Marian 
she's now his very 

Items of news and gossip from the ever-changing 
capital of moviedom. 

ences, and is so genuine that it would be a pity if the 
right role did not come his way to make him a universal 
success. His first picture did not please everywhere, 
unfortunately, but in some cities, it was an extraordinary 
hit. It ran for nearly twenty weeks, for example, in 
San Francisco. 

Much is anticipated for him in "The Love Parade." 

Lupe Turns Serious. 
Well, well — good news at last ! Lupe Velez is really 

taking her work seriously. But that's perhaps because 

she has a role that 
she truly loves, and 
when Lupe loves 
anything, it is al- 
ways ecstatically. 
She is playing in 
"Tiger Rose," and 
will have a chance to 
use her natural ac- 
cent. The heroine 
originally was a 
but a Spanish inflec- 
tion probably will do 
just as well. 

Lupe had a squab- 
ble not long ago with 
Herbert Brenon, 
when she was sup- 
posed to appear in 
"Lummox." She was 
late on the set, so 
it was told, but now 
she has reformed 
completely. She has 
been on time every 
day, and studies her 
dialogue so zealously 
that she knows it 
backward, and takes 

occasion to chide, more properly "bawl out," the other 

actors, if they are not up in their lines. 

The Cost of Victory. 

Will it come to that stage where Lon Chaney will 
have to pay bitterly for his years of affording pleasure 
to his public ? Sometimes we have feared it. 

Chaney has been on the sick list for weeks, first with 
influenza, and later with throat trouble, and though his 
illness might not be directly traceable to the physical 
strain that he has put upon himself, with his many 
weird and misshapen impersonations, undoubtedly these 
have constituted a menace to his health. 

Chaney had to give up playing in "The Bugle Sounds," 
and Wallace Beery took his place. It is expected that 
he will soon be able to work again, but there is little 
chance, we hear, of his assuming any of the more taxing 
and grotesque characters that he at one time undertook 
so frequently. 

Nixon that beatific look, because 
own little bride. 

I I -*n( l/\ ^rL l/\+i 

a » t m/ ■ 

J^di^hi^^I^lza Ochallert 

Erudite and Playful. 

Do yon know how to play Guggenheim? No, it's a 
game, not a character in a picture, and we were intro- 
duced to it at Colleen Moore's not long" ago. This latest 
indulgence is in the intellectual class, and requires a 
knowledge of everything from the most obscure writings 
to the very latest advertising slogan. The playfulness 
of the stars is nothing if not erudite. 

Guggenheim remotely resembles a cross-word puzzle. 
To play it, one draws six vertical lines on a piece of 
paper, and then crosses them with six horizontal lines. 
If this is done cor- 
rectly, it should give 
thirty-six squares 
like those in .a 
cross-word puzzle 
— only they should 
be larger than the 
puzzle squares. 

The square in the 
upper left-hand cor- 
ner is left blank. 
The five squares 
under that, on the 
left-hand side of 
the paper, are filled 
in with so-called 
general categories. 
Anything like riv- 
ers, islands, flow- 
ers, names of mo- 
tion pictures, names 
of stars, names of 
famous battles — 
not that they have 
any relation to pic- 
ture stars — will do. 

The i\ve squares 
at the top of the 
page are then filled 
in with a five-letter word — one letter to each square. 
As previously stated, the first square is left blank. Some 
five-letter word, like "peach," "pearl," "crane," or any- 
thing else that pleases, may be chosen. 

Then begins the fun. You are given twenty minutes 
to fill in the remaining squares, and the procedure is to 
use only authentic words or names opposite the general 
classification. Each one of these must begin with the 
letter that is in the vertical space at the top of the col- 
umn in which it is placed. 

The more unusual the words chosen, the better wil! 
be the score. If there are nine people in the game, nine 
is the top score, and is allowed for each word that is 
not chosen by any other person in the game. If two 
persons happen to pick the same word eight is allowed : 
if three, seven points, and so on. The total of the points 
allowed for each word is added, and the person is de- 
clared the winner who has the highest score. 

Great arguments ensue, if unusual words are chosen, 
and this adds to the fun. Those participating in the 
game have the privilege of turning thumbs down on any 

Charles Farrell's mother has come 
son and enjoy huckleberry muffins 


word chosen, if the person writing it cannot absolutely 
prove that he- i- eomet in using it. If there i- dou' ■ 
vote determines whether In- shall have the point 
awarded a go No referring to the dictionary i- 

permitted, under peril of one's lif 

Contending Intellectuals. 
Those who entered the tierce competition at Cob 
home included, anion- others, Bebe Daniels, Julanne 
Johnston, Ben Lyon, and Carmelita Geraghty; but the 
highest score went to Carey Wil -on, the scenario writer. 
The big event-, were when some one tried to slip by the 
name of the card game "euchre," spelled with a "u." 
and some one else contended that "scene-Stealing" might 
be listed under the heading of "crime-." The shouting 
at moments like these could have easily been recorded 
in microphones ten miles away. 

Colleen Moore's new home i-. by the wav. a most 
attractive hacienda. It has all the usual appurtcnai 
of swimming pool, tennis court, motion-picture theater, 
et cetera, and one of the most distinctive features : 
guest room entirely separated from the house. The 

buildings are low 
and rambling, and 
constructed in the 
form of an open 
square. With red- 
tiled roof and white 
walls, it is dis- 
tinctly Spanish-* 
ifornian. Its sun 
parlor is huge, ex- 
tending the full 
width of the build- 
ing. Colleen her- 
self is furnishing 
the manse, room by 
room, and she h; - 
plenty of vacation 
time to do this, 
since the comple- 
tion of her contract 
with First National. 

The New Democ- 
Guests at Holly- 
wood affairs these 
out to Hollywood to live with her days are an inter- 
before a New England fireplace. estihg commingling 

of stage and screen 
celebrities. In the beginning, there was little mixing ol 
the two groups, but the walls are gradually being broken 
down. One reason for this is the fact that many star- 
have changed their associations, and that since the Equity 
trouble, there has been much interchanging of players 
by the various studios. Acquaintances and friendships 
nearly always begin through professional meetings on 
At Bebe Daniels' recently we found a compositi 
semblage, including Beatrice Lillie, Walter Catlett, John 
Boles, Hen Lyon, Louis Wolhcim, Marie Mosquini, who 
is an old-time friend of lichc's. and others. At another 
party given by Wesley Ruggles, the director, with Kath- 
ryn Crawford, to whom he is reported engaged, acting 
as hostess, were Xeil Hamilton. Olive Tell, Sally Eil 
Lila Lee. Richard "Sheets" ( iallagher, Thelma Todd. 
Viola Dana. Laura La Plante, and Walter Catlett. 

Six months ago one could be sure of finding nearly 
the same group together at any particular set of affair-, 
but now all is apparently changed with the coming of a 
new democracy. 


Hollywood Higk LigKts 

Voice Fixers Now. 
Face lifters will now 
have to retire in favor of 
tonsil removers. And, as 
usual, this changed state of condi- 
tions will have to be attributed to 
the talkies. 

Somebody has projected the the- 
ory that tonsils interfere with a 
vocal career by causing a muffling 
of the voice, or too much vibra- 

Several stars, among them Es- 
telle Taylor, have undergone the 
operation with a view to improv- 
ing their enunciation. 

Here's hoping that this new fad, 
if it is that, doesn't become too 
epidemic. It will, though, don't 

Equity Tempests. 

Equity contentions are bringing 
on strange, new disturbances for those 
working in the movies. Minor players 
are frequently besieged at the studio 
gates, and urged not to play in pictures, 
until the rights of the actor under Equity 
rule are recognized. In other cases, ru- 
mors have been heard of players dread- 
ing being hit by falling lights. 

In this connection, Douglas Gerrard 
was recently the victim of a practical 
joke. A rock was hurled through a 
window of his home, on which was 
paper bearing the word "Beware" 
and signed "Heck-quity." For 
two days afterward. Gerrard went 
around with a body- 
guard, but he discov- 
ered that a friend was - 
merely playing a trick 
on him. 

Paul Whiteman 
isn't troubled by 
the delay in start- 
ing "The King of 
Jazz," because he 
likes Hollywood. 

Charles Farrell cheerfully 
submits to the special 
stretching exercises of 
those two amateur osteo- 
paths, Richard Keene, 
left, and Nick Stuart. 

Tom Again Under Fire. 

What next ? Tom Mix may well ask this question. Mix 
is touring with a circus, but word reaches us of both his 
success and his troubles. Tom has already had his griefs 
with the government over income tax, and now he has been 
sued for $400,000, because of alleged breach of contract 
with the proprietor of another circus than the one in which 
he is working. Tom also is reported to have lost a very 
beautiful diamond-studded watch that he valued highly. 
Tom's affection for jewelry is well known. 

The Mix house in Hollywood is to be sold, ac- 
cording to latest reports, and the wife and daugh- 
ter of the star are living at the beach. They will 
probably remain in the vicinity of the film colony 
until Mix's return. 

Ingenious Betty. 

Income-tax troubles, in a new form, bothered 
Betty Blythe's otherwise quiet and peaceful life 
recently. Her tourney was with the British collec- 
tors, and to add insult to injury, the bill that was 
forwarded to her was dated the Fourth of July. 

Betty, so the foreign revenuers state, owes them 
$3,000. It is their share, they say, of the money 
that she earned on her vaudeville tour of Europe. 

Betty objected on the ground that she had not 
been in England for six months, and therefore was 
not liable to being taxed. "I was there just five 
months and twenty-nine days," she said, "and I'm 
not going to surrender my rights in those circum- 

Their Devoted Guide. 

Most people, who know of the careers of Do- 
lores and Helene Costello, must have realized what 
a deep loss the death of their mother was. Mrs. 
Mae Costello passed away suddenly a few weeks 
ago. She was a victim of heart disease, and her 
age was forty-seven. 

Unquestionably she was responsible for the very 
entry of her daughters into the films, and guided 
their progress with indefatigable inter- 
est. She literally devoted her life to 
their welfare, and was happy to behold 
their success. Before their respective 
marriages, she accompanied them 
everywhere, and undertook virtually 
all the responsibilities of their lives. 

Mrs. Costello was. at one time, the 
wife of Maurice Costello, and she her- 
self appeared on the screen under the 
name of Georgia Maurice. 

Nancy Drexel Resumes. 
Nancy Drexel, who always struck 
us as a most promising youngster, will 
have her chance again. She is at 
Fox's, in "New Orleans Minstrels," 
playing the only important feminine 
role in this picture, which features 
William Collier and Walter Catlett. 
Now, Nancy, try to steal a few 
scenes, if you can, from those two 
old stage players ! 

Bathing Girl's Suc- 

It used to be that 
specifications were 
formally issued for 
the bathing girl, 
telling her height, 
weight, age, et cet- 

Hollywood Higk Ligkts 


era, and including even more detailed measurements of 

arms, ankles, and legs. Now it's the chorus girl of the 
movies who enjoys this popular broadcasting of her 

Hollywood's typical chorus girl is discovered to have 
the following attributes: height, 5 feet 3 inches; weight. 
108 pounds; age, 19 years; hair, bobbed and light 
brown; eyes, blue. No mention is made of the dimen- 
sions of biceps and calves, for the reason that the mere 
beauty of these is not so valuable. The film chorus is a 
dancing chorus, and athletic Terpsichorean performances 
rentier the minor details of shapeliness somewhat less 
important than they were in the good old days, when it 
was plastic pulchritude alone that counted. 

It is further disclosed that the typical chorus girl 
is ordinarily born in the Middle West, lives with her 
family, and does not adopt an assumed name on the 

The one-hundred-per-cent typical girl is said to be 
Maxine Cantway, under contract to First National. The 
attractions of one hundred and seven girls furnished 
the basis of the decision, in which Miss Cantway won 

If Georgiana, Loretta 
Young's little sister, is 
as nice as Loretta is 
when she grows up, 
she'll beautify Picture 
Play's cover, too. That's 
a promise! 

The Sisters of William. 

All the talent in the 
Haines family is not con- 
fined to William, famil- 
iarly known as Bill, or 
Billy. He has two sisters, 
who are also bent on tak- 
ing at least a fling at the 
movies. One is Ami and 
the other is Lillian, and 
they are both younger 
than their brother. Per- 
haps you can catch a 
glimpse of them in "Navy 
Blues" when that produc- 
tion is released, although 
the parts they play will 
be small. 

The girls, who are from 
Staunton, Virginia, have 
been paying a summer visit 
to the star of their family. 

Talkies Smile on Doris. 

Little by little Doris Hill is fighting her 
way up the trail to fame, and talkies are 
bringing her more good luck than silents did. 
She started in a bit as a flower girl in "In- 
terference," and is now doing her first genuine 
"The Children." 

"The Studio Murder Mystery" helped a little, 
new picture, adapted from the Edith Wharton 
promises to be the most auspicious yet. Fredric 
is the male lead. 

lead in 

but the 


Opposed to "Junior." 

Raymond Hackett will never be happy until he changes 
the name of his youngster, born a month or two ago. 
In a weak moment, he consented to the boy's being called 
Raymond, Jr., largely through the persuasions of his 
attractive wife, Myra Hampton. 

Now he wants to renege on the agreement. "James, 
George, John — anything but Raymond would do," he 
exclaimed. "I think it's the height of vanity, though, 
for a man to permit his son to be named after himself." 

We suspect, though, that the youngster's mother, who 
is very devoted to her husband, is going to rule in this 
case, despite all paternal objections and expostulations. 

Buddy's Stock Goes Up. 

Charles Rogers is a smart young financier, and if 
this seems astonishing news, just consider what lk- 
achieved in Chicago during bis personal appearan 
there. Charlie sang and also played some instrumental 
numbers during the run of his film, I Harmony," 

and made a most amazing bit. 

While he was on this detached service from the studio 
bis salary went right on as usual. Also he received an 
amount equal to that stipend from the theater. Then, 
when he became homesick, and asked if he couldn't 
return to I [ollywood, the Chicago people wouldn't let 
him go, and offered to double what they were paying 
him, if he would stay. 

Buddy now has made up his mind that he can be a 
business man any time he finds it necessary to leave the 
screen, and he also contends that homesickness is one 
of the most profitable maladies he knows. 

Greta, the Mute. 
Again will Greta Carbo be a silent star. And why 
should she stop' Her pictures seem to be record bits. 

despite that she does not 

When she made "Tin- 
Single Standard," it was 
announced that this would 
be followed by the audible 
"Anna Christie." Instead. 
the company interposed an- 
other mute production, di- 
rected by the Belgian, 
Jacques Feyder. 

Somehow this decision 
appears to be very well 
gauged. Greta's elusive 
charm might vanish were 
her voice heard. In any 
event, it had better be good. 

Others Goldenly Silent. 
Only a scant half a dozen 
or so of prominent players 

are on the silent list to-day. 
Besides Greta, there are 
Lon Chancy. Renee Adoree, 
Dolores del Rio. Charlie 
Chaplin, and Nils Asther. They are all popu- 
lar. The majority, even Chaplin, would prob- 
ably speak with an accent. So too would 
Ramon Novarro, who is making his first dia- 
logue feature. While Ramon has never spoken 
lines, his voice was heard in "The Pagan," because, con- 
trary to rumors that a double sang, he did carol "The 
Pagan Love Soik 

Asther had a few words to say in "The Holly 
Revue," but these were eliminated. It was not deemed 
propitious for him to make a talkie debut in a feature 
of this sort. 

Chaplin is apparently unalterably opposed to talk, but 
if be ever decided to take the leap, what a marvelous 
burlesque he could do on the vocal films of to-day. Those 
who know Charlie as a drawing-room entertainer realize- 
that his mimicry is not limited to pantomime. H< 
clever, too, with his travesties of the spoken word. 

Griffith's Magnum Opus. 

With no small solemnity are preparations being made 

for D. W. Griffith's entrance into the talkies. His • 

picture will be the life story <-i Abraham Lincoln. It 

will be the sort of picture, we are assured, that he 

Continued on page 100 


Tkat Nameless 

Kay Francis has it in her manner of wearing 

clothes, which sets her apart from the many and 

makes her one of the very few. 

The utter simplicity of 
Miss Francis* outfit, 
left, would be trying to 
a woman less smart, but 
the actress relieves the 
dusty brow- of her 
tweed ensemble by 
wearing a blouse of 
lemon yellow. 

She combines navy 
blue and black, 
right, with utmost 
chic, her frock be- 
ing of navy crape, 
with a silver-fox 
scarf and slippers 
creating the black 

It is in the lines of her 
(veiling gown, right, that 
Kay Francis achieves sub- 
tle distinction, for the 
costume is merely of black 
crape and tulle — ah, but 
look at the silhouette ! 

Her lounging en- 
semble, above, in- 
cludes a robe of 
red, white and 
black, white blouse 
and black satin 
trousers that boast 
a flare of side 

In no other costume on 
this page does Miss 
Francis better demon- 
strate the effectiveness 
of simplicity than is 
seen, left, in her town 
ensemble. The sleeve- 
less frock of green 
crape is plaited and 
tucked, while the jacket 
is embroidered with a 
band of white dots. 
Hat, gloves, bag and 
shoes are white. 


Photo by Dyar 

A small sign, but a significant one — the ease with which Fredric March poses with a kitten. Yes, he'll 

stay in Hollywood. 

Freddie For Keeps 

For many good reasons an alert interviewer predicts that Fredric March will not return to the stage, but 

will remain in the movies. 

B>> Helen Louise Walker 

HOLLYWOOD swarms and swirls with a thousand 
new faces these days. On the set. when you can 
get on one, at the Montmartre, at premieres — all 
is confusion. You have no way of knowing who is a 
potential picture celebrity, and who is just another tour- 
ist trying to look like one. And, by the way. it must 
be a little hard on the tourists, too. How are they to 
tell, when they write home to the folks, whom they 
saw eating ham and eggs right at the next table? 

Excited press agents dart up to one, crying out the 
news that Angela Le Moyne, or somebody, has just 
been signed to sing and dance in such-and-such a pic- 
ture. "What? You never heard of Angela? Why, she 
was the tap dancer in the 'Joy Jinx Revue' ! Three 
years on Broadway " 

Oh, yeah? Does Broadway know it, we wonder? 
Oh, well, some of these people are going to get breaks 
and make good in pictures. Some of them. But which 
ones? It is as likely to be Angela as some one whose 
name has flourished in electric lights for years. 

There is, of course, Fredric March. I am willing to 
venture timorously — one one's habitual cockiness 
about prognosticating nowadays — that Freddie beloi 
to Hollywood for keeps. 

He is a young stage actor of unusual and particularly 
appropriate accomplishments. Essentially a character 
man, his technique is as pictorial as it is vocal. And 
he has been very fortunate in the circumstances sur- 
rounding his excursion into pictures. 

He came to Los Angeles to play the role of Tony, m 
''The Royal Family,'" the stage play which purport 
present a picture of the Barrymore family at home. 
Tony, of course, would be the irrepressible John, and 
Fredric March's portrayal of that impetuous celebrity 
was more than an imitation. It was delightful carica- 
ture. Although younger, smaller, and darker than the 
scion of the Barrymores, he nevertheless managed, with- 
out resorting to trick make-up, to look amazingly like 
him. The exaggerated walk, scowl, and character 
gestures sent the original himself into howls of mirth 
when he and Mrs. Barrymore attended a performance 
of the play. 

The result of all this was that Paramount seized : 
die and promptly put him under a long-term contract. 

"It has been a great break for me." he says, "that 
the people with whom I have worked have been doing 
something almost as new to them as the whole picture 
business is to me. It must have been very tough on s' 
actors who came out here to try to work in silent 
hires. One would feel like a rank amateur. I - 

Freddie was lent by Paramount to Bathe, to play 
opposite Ann Harding, in "Paris Bound," and we w 
sitting on one of the new sound stages as we talked. Ik- 
was quite resplendent in morning coat and striped, gray 
trousers, with a chaste lily of the valley in his button- 
hole Miss Harding, in her ivory satin and lace, was 
almost too gorgeous to be real. [Continued on pag 


Photo by Louise 

Anita's eager enthusiasm is not clouded by artistic poses, or strange 
yearnings, for she has not "gone movie." 

IS youth going natural again? Are boyish silhouettes 
and wise-cracking and semisophistication out? 

The steadily increasing popularity of Anita Page 
adds to the present indication that the flapper has streaked 
her carmined path through enough jazz jingles. A new 
and less hectic type of girl, adapting the valentine-fem- 
inine allure to the vital, modern mold, is prevalent at 
all the studios, and is personably illustrated by Anita. 

There are no half tones about Anita. Her opinions 
and contagious enthusiasms are those of gloriously peppy 
eighteen, a friendly and an astonishingly inexperienced 
eighteen. The steady gaze of her blue eyes echoes a 
candor untrained to guile, and they hold questions there 
before you. There is an unvoiced but tacit reminder in 
the significant glances all about you, that you must an- 
swer her questions in ways best for her. 

Her provocation is wholly artless, and therein lies 
her charm. When Anita learns the power of her appeal, 
its freshness will be smudged. Chattering like a magpie, 
she pokes a smile into offices and, by the very alchemy 
of her youthful zest, rubs the gloom from dour faces. 

She is sparkling, eager to be about the day's business. 
What a relief from poses and conversational mazes 
through which one must wander, seeking hinted mean- 
ings ! In her simple sport frocks — admitting apprecia- 


Anita Page leads the rising group 
ened the supremacy 

B? Myrtle 

tively that some of them were given 
her for posing publicity pictures in 
them — she takes a lease on all eyes, 
however blinded said orbs may be by 
the opulent beauty of a Dove, the 
perfect chic of a Joyce, or the capers 
of a Bow. And how restful this 
blunt, joyous speech of hers, un- 
trained to the movie interview man- 

With Anita, the improbable has 
happened. Eighteen months ago I 
met her. the day after she had signed 
an M.-G.-M. contract. Amid dis- 
covery's flurry, publicity photos, cast- 
ing, and costuming, everything was 
one grand, breathless whirl of ex- 
citement, work, and being liked. 

And I'm Al Jolson if it isn't still 
that way ! 

I have been waiting, with that 
usually unerring premonition based 
on experience, for Anita to "go 
movie." According to custom and 
human nature, it had to be. She 
hasn't. There are outward evidences 
of her career — the imposing motor 
in which sit her proud parents and 
her kid brother, trying like the dick- 
ens not to act impressed, a certain re- 
membrance of her profession which 
follows her, in public taking the form 
of recognition and requests for auto- 
graphs, at home the scheduled care 
of her. 

Otherwise she is unchanged. Her 

bubbling vitality never seems to need 

recharging ; she never slumps, tired, pouty, chagrined. 

Criticisms .and disappointments she accepts cheerfully, 

as just and beneficial. 

Everything that is said to her, she believes, is for her 
own good. At the very outset, every one in the studio 
tacitly accepted the rule of looking after 'Nita. The 
boys became surprisingly careful of their speech, lest 
some term foreign to her inexperience creep in, each 
making himself a manager and bodyguard. It strikes 
me as rather curious that her father, knowing nothing 
of picture making or conditions, should have the intui- 
tion to select from among this maze of proffered advice 
the most sensible and meritorious suggestions. 

Her career is being built methodically, as one would 
plan and execute each step of a business campaign, all 
mapped out. She would be just an invoice, except that 
she imbues all this meticulous, detailed arrangement 
with her own bright spontaneity. 

Her course is charted with careful consideration of 
all the winds which might affect her navigation. All that 
is influential to her career is incorporated in her busy 
schedule ; the irrelevant is shunted aside. She is to be- 
come a success, provided her talent develops and the 
public approves her. Nothing will be permitted to de- 
tract from this single purpose. For it, to please her 


Nine Oclock Girl 

of natural, girlish girls that has already threat- 
of the hey-hey sorority. 


mother and to gratify her wish, Marino Pomares 
gave up his business hack East and placed himself, 
alter being the breadwinner, in the outwardly nebu- 
lous position of a movie actress' father. 

Outwardly, I say, for he is still the head of 
the family. All things pass before his judgment. 

A robust constitution being necessary, if she is 
to endure the strain of long hours and the tension 
of emotional work and not develop nerves, her 
health is guarded. When she is working, the rule 
is a nine thirty bedtime, unless the occasion he a 
very special one, such as an important premiere 
at which it is politic for her to be seen. As many 
spare hours as possible are spent swimming or ' 
golfing with her father. She is not permitted to 
drive, for fear of accident. Fresh air, exercise, 
sensible food — she has displaced those pounds 
which for a time threatened a too-ample upholstery 
— and study are included in her program. 

Parties are rare. Only once, with the German 
Prince Ferdinand, was she allowed 
to go out in the evening with a man 

"Of course, I must have a chape- 
ron." It required effort to divest my 
face of its unconscious where-have-I- 
heard- that -word -be fore expression. 
"It isn't that my father doesn't trust 
the hoys — they are all very nice — 
but they speed, and he is afraid of 
an automohile accident." 

So that when 
Harry Crocker, 
or another swain, 
takes Anita to 
the theater, to 
Catalina, any- 
where, Mr. or 
Mrs. Pomares 
accompanies them. 
The hoys say they like 
the arrangement. Her 
parents are jolly good 
fun. Perhaps, too, 
the youths are fed up 
with the flappers who 
"know life," with all 
its picot edges, and 
find this experience 
novel and refreshing. Whatever 
their personal reactions to the 
archaic custom, Anita is no wall- 
flower when she attends social 
affairs. Papa or no papa, the 
hoys hang around. 

Anita's earnestness, her avidity 
for work, belittle my poor vocab- 
ulary. Every actress has an in- 


Photo by Bull 

Anita's great concerns are career 
and health, so daily exercise and 
early bedtime are two fixed rules. 

Papa or Mamma Pomares 

chaperons Anita when she 

goes places, and the kid 

brother has his innings, too. 

tensity of application to duty 
that any business man might 
well wish his secretary pos- 
sessed. A girl who 
lacks this capacity 
for work would 
stand small chance 
in the scratching, 
pulling, fighting 
competition of I fol- 
ly wood, where an 
ingenue grows on 
every rosebush. 

Anita's absorp- 
tion, h o w e v e r . 
shames all other.-. 
It amounts to a happy obsession. 
From the first it has been work. 
study, learn ; into this routine she has 
poured all her vital Spanish energy, 
all her French vivacity, all her Irish 

Until she acquired ease of man- 
ner on the set. the next day's scenes 
were rehearsed minutely by the fam- 
ily at home each evening. Papa Po- 
mares might be hero or villain — I 
dare say at times he was none too 
sure! — and her mother, bewildered, 
was the cast, individually and collec- 
tively: sometimes, one or the other 
even had to he a prop. Anita went 
through her scenes until she had 
Continued on page 105 


Tke Stroll 


Shrewd comment on the idiosyncrasies of the movies and some of their people. 

By Neville Rea? 

Illustrated by Lui Trugo 

IT'S all a question of credit — or credits. 
From time to time the industry has heen agitated 
hy moves to eliminate credits on the screen, the 
idea being that the extra reel of film would give the 
producers something to play with in their effort to 
achieve entertainment. An extra reel of action would 
be room enough for a glittering, gorgeous galaxy of 
emotional play by Sarah Heimer, the most scintillating 
beauty on the screen — with a tintinnabulous voice as 
full of meaning as an assistant director's promise of 

My opinion — having seldom written anything that 
could get screen credit — is that these beautifully molded 
titles with strange names, that sound like a passenger list 
on the combination freight- 
passenger local to Center- 
ville, could be eliminated 
without loss. And I fur- 
ther suggest that this footage 
be not filled by action, but be 
used for the philanthropical 
purpose of shortening the 
show. I further hope that 
this will not encourage ex- 
hibitors to toss in another 
painful talking short of some 
third-rate vaudevillian, who 
needed the one hundred dol- 
lars for giving his act away 
to save himself from starv- 

We didn't have to go to 
vaudeville unless we wanted 
to, in the past, but now if we 
go to pictures at all, we must 
take it or leave it. 

Film editors, assistant directors, wardrobe designers, 
and prop boys probably insist upon the credits, under 
the illusion that they have fan clubs all over the country 
adoring them and picking out the pictures they work on 
to honor with their attendance. 

To become logical for a moment, what do their names 
mean, even in Hollywood ? They have nothing to do 
with whether a picture is good or bad. They have to 
work on whatever picture is assigned them. The work 
is the same on a flop as it is on a hit, so far as these 
people are concerned. 

However, it does help some of them personally in 
Hollywood. If, by chance, they work on a hit, they 
flash a copy of the title on some producer and maybe 
get a job at some other studio. Not to complicate this 
matter too much, let's use the screen for these credits 
only in Hollywood. Use a slide like the following: 

New shows on Broadway are lacking in fresh 
music, because the first, second, and third-rate 
song writers are all in Hollywood cleaning up. 

Wardrobe— Joe Shoe. Fired Sept. 15. Tel. Gr. 9999. 

Props— Sam Cohn. Fired Aug. 10. Will take $20 a 
week. Tel. Gr. 2070. 

I feel certain no one would ever telephone a studio. 

But this is all a bit futile. Talking pictures have more 
than 'doubled the credits, and color photography has 
added its line. Now we include the names of sound 
engineers, recording experts, song writers, music pub- 
lishers, the electrical company, and we even know which 
of several methods is used to produce sound — provided 
we read the titles. 

Since the thing has gone to such ends, I am in favor 
of putting the thing on the up and up. Let's be honest 
and give credit where credit is 
deserved, even if it adds to the 
length of the reading matter. 
Let's do it this way. 






Face Mr. Blossom 

Voice Otto Schultz, Jr. 

Feet, in dances 

W. Nathan Tobriner 
Hands, in pantomime 

Jim Thomas 

Body, in fights Donald Kirby 

Double, for stunts 

"Longshot" O'Brien 
Double, for love scenes 

E. L. Davis 

Then when all that's done, let's form a fan club and 
go gathering nuts every Saturday afternoon. 

For some one to compose an eighteen-day-diet cross- 
word puzzle would be one of the heights of something, 
combining, as it would, two forms of common insanity. 

The only thing I hope is, that the diet won't get 
space on the printed page as long as cross-word puzzles 

I am printing herewith The Stroller's special diet for 
Western stars' horses. Breakfast — one wisp of straw, 
two grapefruit seeds, water ; lunch — two munches of 
fresh grass, one quarter carrot, water, one grapefruit 
seed ; dinner — ten grains of oats, one grapefruit seed, 

When the horse has come through this, send him to 
President Hoover for exercising — or eating. 

Tke Stroller 


People who have nothing else to do are turning into 
collectors of statistics. 

One o' the Hollywood newspapers actually had people 
on the corner of Vine Street and Hollywood Boulevard 
counting the number of automobiles which passed the 
intersection, and noting which way they went. 

The figures passed into the millions during a month. 
Every car that came to the crossing was counted by 
one man, and every car which left the crossing was 
counted by another, making the thing more darn fun. 

Actors out of jobs, but still retaining their cars, used 
to spend the day driving around the block, or making 
U-turns at the crossing to increase the labor of the 
dockers, figuring that it was possibly one of the most 
enjoyable ways of spending a between-pictures vacation. 

If the dockers could only be placed at studio gates 
to count the number of ideas taken in, they would be 
equaled only in labor by those clocking the ideas coming 
out ; while the task of figuring how many ideas remained 
within would be an easy job for Stepin Fetchit. 

An indoor sport which receives my heartiest coopera- 
tion has broken out at the Coconut Grove. 

The tourists flock there on Tuesday nights to see the 
celebrities — people will flock to see anything — and dance 
near them. 

Then they write back home, "I kicked John Gilbert in 
the shins." "I poked Charlie Chaplin with my elbow." 
"I bumped into William Haines so hard he fell down." 
"I jabbed Buddy Rogers in the eye with my finger — oh, 
his flesh was so soft, like a baby's." 

Although it has driven many of the stars to going 
other nights of the week, I think this is a great idea. If 
we only had hardier and huskier tourists. If I could 
only get some of my pet hates to attend during a con- 
vention of lumberjacks from the great outdoors, this 
would indeed be bliss. 

As one of the tourists was heard to remark, "A good 
kick in the shins is worth ten answers to fan letters ; 
while a poke in the eye is better than an autographed 

A wee bit of late warm weather is causing trouble to 
sound stages. Once, during the summer, an experi- 
mental press agent at the First National studio put a 
thermometer on a set during the day, and found the 
lights ran it up to 135 degrees. 

If it had been a Greta Garbo kiss scene, that could 
have been ex- ^^ 

plained satisfac- /^^^\ 

torily. This sug- 
gests a new field 
for practical and 

The reactions 
of the air to the 
star should be 
measured to 
prove once and 

for all that 
Mary Brian 
is really not 
cold, but runs 
the tempera- 
ture way up 
to 118; Clara 
Bow to a tor- 
rid 146; Bac- 
lanovato 184 ; 
Janet Gaynor 
to 80; and 
May McAvoy 
to 30. 

A wax fig- 
ure of Joe 
Gans dripped 
away at the 
Fox studio 
because of too 
great proxim- 
ity to a story 

"A good kick in the shins is worth ten 

answers to a fan letter," said a tourist 

who danced by a star at the Coconut 


A newspaper with a statistical 
mania stationed two men on Holly- 
wood Boulevard to count cars go- 
ing in each direction. 

To appreciate the great change in the personnel of 
Hollywood one has but to meet a few song writers. 

Heretofore we were never bothered by this species, 
but like a plague, they have descended upon us. They 
have not only immigrated, but like an epidemic, they have 
sprung up among us from our own ranks. 

New musical shows in New York are strangely lack- 
ing in fresh music for the simple reason that the first, 
second, and third-rate writers are all in Hollywood clean- 
ing up. 

After all, if you have a motion picture to plug your 
song you can get more in royalties than from the sale 
of copies inspired by a limited New York plug. These 
song writers can be heard over the radio at any time, and 
they always play a medley of all the songs they have 
written since they were first able to hit a piano with one 
finger, many of them not having progressed beyond that. 

One writer, in a moment of drunken stupor, admitted 
that he had sold for a big picture three of the songs 
which he wrote five years ago for a New York musical 
show which was a dismal flop. And music dealers list 
two of these numbers as best sellers. 

The way to tell a song writer from a human being 

is to look at his eyes and fingers. If his head swings 

back and forth, his eyes shift 

rhythmically, he appears to be 

muttering, needs 

wears a dirty collar, he is either a 
song writer, or a two-reel comic. 
But if his fingers keep drumming 
the table, and he can talk about 
nothing but his unusual ability and 
the strange conditions under which 
he composed the masterpiece, you 
will know instantly that you have 
Continued on 

shave, and 


HoW to Break In 

Eddie Nugent, the resourceful, gives five priceless 
hints to those who want to get into the movies. 

Plenty of pull is the first requisite, 
says Eddie Nugent, above, and pro- 
ceeds to show 
the kind 


You must learn to "sell" your- 
self as Eddie does, left, never 
missing an opportunity to speak 
a good word in your own 

Eddie, left, ad- 
monishes the 
aspirant to pro- 
vide himself 
with a good 

A good voice is necessary, these days, 

says Eddie, left, suggesting that you 

watch his tone productions for the 

best results. 

Ah, and sex ap- 
peal — most im- 
portant, nay, a 
necessity, Mr. 

Nugent archly 
points out, right. 


A Confidential Guide to Current Releases 


"Thunderbolt"— Paramount. All dia- 
logue. Romanticized movie under- 
world, with exceptional touches paving 
the way for excellent acting. George 

Bancroft, as the king gunman, seeks 
revenge by framing a rival lover, but 
is himself undone. Fay Wray reveals 
hidden talents, and Richard Arlen 
scores. Good supporting cast. 

"Dangerous Curves" — Paramount. All 
dialogue. Rattling good picture, with 
Clara Bow in a serious role. Heart 
tangles in a circus troupe, with unex- 
pected developments. Strong support 
from Richard Arlen, and intrigue de 
luxe by Kay Francis. David Newell 
also a nice addition. 

"Fashions in Love"— Paramount. All 
dialogue. Adolphe Menjou's first talkie 
and last picture for Paramount, and 
one of his most engaging ones. Deft 
story of philandering husband and a 
wandering wife who went back to 
their respective home nests. Fay 
Compton, Miriam Seegar, John Miljan. 

"Wonder of Women" — Metro-Gold- 
wyn. Part dialogue. Dignified, beauti- 
ful portrayal of a genius who fled from 
his simple fireside to renew his associa- 
tion with a prima donna and his awak- 
ening to his true inspiration. Marvel- 
ous acting by Lewis Stone, and Peggy 
Wood ideal as his wife. Leila Hyams 
the singer. 

"She Goes to War"— United Artists. 
Incidental sound. War picture with 
unusual story and magnificent acting, 
in which a girl dons her drunken 
fiance's uniform and goes to battle, 
and is awakened to real life. Alma 
Rubens and Eleanor Boardman give 
fine performances, and the talents of 
Edmund Burns are brought out. John 
Holland, Al St. John, Yola d'Avril, Glen 
Walters, Kulalie Jensen. 

"Studio Murder Mystery, The"— Par- 
amount. All dialogue. Film studio 
crime unraveled by gag man and po- 
lice, with suspense, many laughs, and 
after suspicion points to five persons, 
a satisfactory solution is hit upon. Neil 
Hamilton in leading role gives engag- 
ing performance, Fredric March the 
murdered actor. Florence Eldridge's 
talking debut. Warner Oland, Doris 
Hill, Lane Chandler, Eugene Pallette, 
Chester Conklin. 

"Where East Is East"— Metro-Gold- 
wyn. Silent. Troubles of a jungle 
animal hunter, who seeks happiness 
for his untamed daughter. Lon Chaney 
as you would expect him, Lupe Velez, 
and Estelle Taylor in a brilliant role. 
Lloyd Hughes also at his best. Splen- 
did atmosphere and a picture to see. 

"Man I Love, The"— Paramount. All 
dialogue. Striking film of prize fight- 
er's drifting and his come-back in the 
nick of time. Richard Arlen's pleasing 
talkie debut as the fighter who is cap- 
tivated by Baclanova, but in the end 
knows his heart is with his wife, Mary 

Brian. Swiftly presented, engrossing. 
Leslie Fenton effective. 

"On With the Show"— Warner. All 

dialogue, singing, dancing, and entirely 
in color besides. Gayety and beauty of 
musical comedy, with young love of an 
usher and coat-room girl, with other 
issues galore. Entire cast does well. 
Betty Compson, Louise Fazenda, Sally 
O'Neil, Joe F. Brown, William Bake- 
well, Arthur Lake, Wheeler Oakman, 
Sam Hardy, Ethel Waters. 

"Bulldog Drummond" — United Art- 
ists. All dialogue. A melodramatic 
thriller, with sophisticated viewpoint 
which makes fun of what transpires. 
Story of bored ex-war hero, who ad- 
vertises for adventure and gets it. 
Ronald Colman vitalized and remade 
by speech, giving memorable perform- 
ance, ably seconded by Joan Bennett, 
Lilyan Tashman, and Montagu Love. 

"Madame X"— Metro-Goldwyn. All 
dialogue. Old-time melodrama of 
mother love superbly vivified by fresh 
dialogue, modern direction, and superb 
acting, with Ruth Chatterton and Ray- 
mond Hackett as mother • and son 
reaching heights of tear-wringing emo- 
tion in famous courtroom scene, where 
wretched woman charged with murder 
is defended by son taught to believe 
her dead. Lewis Stone, Eugenie Bes- 
serer, Mitchell Lewis, Holmes Herbert, 
and Ulrich Haupt. 

"Valiant, The"— Fox. All dialogue. 
Grimly uncompromising picture nota- 
ble for introduction to screen of Paul 
Muni, whose place among leaders now 
is unchallenged. Story of murderer's 
efforts to convince sister that her 
brother is not himself, but a soldier 
who died a hero. Marguerite Churchill 
also fine, and John Mack Brown does 

"Pagan, The" — Metro-Goldwyn. Sing- 
ing. Treat for Ramon Novarro's fans 
and justification of all they've read of 
his singing voice, which is delightful, 
exceptional. Story of young South Sea 
Islander's love for half-caste girl. 
Dorothy Janis, Renee Adoree, and Don- 
ald Crisp. 

"Close Harmony"- — Paramount. All 
dialogue. Lively, up-to-date medley of 
backstage life, shrewd, clever, enter- 
taining, with best performance Charles 
Rogers has given in talkies, and an- 
other by Nancy Carroll. Jack Oakic, 
"Skeets" Gallagher, and Harry Green. 

"Trial of Mary Dugan, The"— Metro- 
Goldwyn. All dialogue. Courtroom 
drama glorified in baffling mystery 
murder of a chorus girl's lover. Norma 
Shearer excellent in talkie debut, as ac- 
cused girl. Raymond Hackett, a new- 
comer, Lewis Stone, H. B. Warner, 
Lilyan Tashman give fine support. 

"Coquette" — United Artists. All dia- 
logue. The "new'' Mary Pickford. in 
fancy frocks and bob, essays a flirt 
whose actions create drama in a small- 
town Southern family. John Mack 
Brown, John St. Polis, Matt Moore. 

"Rainbow Man, The**— Paramount 
All dialogue. An irresistible picture, 
with finely balanced sentiment and fun, 
with Eddie Dowling, tin stage star, and 
his young partner, Frankie Darro, in 
minstrel-show settings. They find 
Marian Xixon and love and trouble. 
Dowling is a knock-out. 

"Divine Lady, The"— 1 ir-t .National. 
Silent. A series of exquisite paintings 
animated with poetic feeling and a little 
drama. Lovely presentment of "Lady 
Hamilton" by Corinne Griffith and 
finely modulated "Lord Nelson" by 
Victor Varconi. H. B. Warner, Ian 
Keith, Montagu Love, Dorothy Cam- 
ming, Marie Dressier. 

"Alibi"— United Artists. All dialogue. 
Crook picture, played and directed with 
distinction. A cop's daughter sympa- 
thizes with underworld, marries a 
crook, but is soon disillusioned in a 
thrilling climax. Chester Morris, Elea- 
nor Griffith, Pat O'Malley, Regis 
Toorhey supply high lights in action 
and talk. 

"Wild Orchids"— Metro-Goldwyn. Si- 
lent. Greta Garbo in her best role, 
rather slow, but impelled by adult emo- 
tions. Java beautifully pictured. Nils 
Asther and Lewis Stone. Triangular 
love situation, a wife's admirer "pun- 

"Letter, The"— Paramount. Enter- 
taining eloquence and dramatic situa- 
tions make this a milestone in all-dia- 
logue films, and bring to the screen the 
gifted Jeanne Eagels. A civilized pic- 
ture showing the wrecked lives of an 
English couple in Singapore. Stage 
cast devoid of cuties includes O. P. 
Heggie, Reginald Owen, and Herbert 

"Iron Mask, The"— United Artists. A 
picturesque tapestry, sequel to "The 
Three Musketeers," superbly exploit- 
ing Douglas Fairbanks. Story from 
Dumas revolves around the throne of 
seventeenth-century France. Mar- 
guerite de la Motte, Dorothy Revier, 
William Bakewell, and Ulrich Haupt. 

"Broadway Melody, The"— Metro- 
Goldwyn. An extraordinarily enter- 
taining musical-comedy picture, human 
in its appealing story of stage life, with 
dialogue, song and spectacle. Concern- 
ing two sisters with ambitions to make 
Broadway, and a song-and-dance artist 
from their home town, and their ca- 
reers and loves. Bessie Love, Anita 
Page, and Charles King top-notch. 

"Lucky Star"— Fox. Part dialogue. 
A countryside idyl with Janet Gaynpr 
and Charles Farrell. and the director 
is Frank Borzage. As pretty and as 
good as one would expect, the story 
being that of a farm girl and her erip- 
pled ex-soldier lover. Guinn Williams 
is the bad, bad villain. 

"Pleasure Crazed"— Fx. All dia- 
logue. Wild scramble of nub drama, 

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Polly Moran, Charles King, Bessie Love, Gus Edwards, Marie Dressier, and Cliff Edwards contribute an amusing 

number to Metro-Gold wyn's "Hollywood Revue." 

creerv a RgVieur 

g£ J\[orbert]usk 

The parade of new films yields several notable ones as well as some brilliant 

individual performances. 

METRO-GOLDWYN'S long-awaited "Hollywood 
Revue" at last unfurls itself before delighted 
eyes. It is inconceivable that any eyes anywhere 
— to say nothing of ears — will fail to see and hear it. Its 
fame will travel far and its magnetism will drag doubting 
souls into theaters wherever it is shown. 

Glittering, gorgeous, and always entertaining, it adheres 
to the form of stage revues so closely that there isn't 
even a recurrent theme song in lieu of a story to bind it 
together. Instead, it is a swiftly changing kaleidoscope 
of songs, dances, and skits performed by so large a 
number of stars that one is obliged to call them, some- 
what apologetically, a galaxy. Some of the names fa- 
miliar to fans are Marion Davies, Norma Shearer, Joan 
Crawford, Bessie Love, Conrad Nagel, Lionel Barry- 
more, Stan Laurel, Oliver Hardy, Anita Page, John 
Gilbert, William Haines, Buster Keaton, Marie Dressier, 
Charles King, Polly Moran, Karl Dane, George K. Arthur, 
and Gwen Lee. Recruits from vaudeville include Jack 
Benny, Brox Sisters, Natacha Nattova, Gus Edwards, 
Cliff Edwards, and the Albertina Rasch ballet, not forget- 
ting a huge chorus of prancing boys and girls who, as 
much as any one, see to it that there isn't a dull moment. 
■ Since there's no story to recount, your reporter must 
tell you what the stars do and how they do it. When I 
saw the "Hollywood Revue" on Broadway the most 
spontaneous and lasting applause was evoked by Marion 
Davies, Marie Dressier, and the Albertina Rasch ballet. 
But this may differ in other communities. For example, 
I can think of nothing more melodiously pleasing than 
Charles King singing "Your Mother and Mine," nor 

anything more like bathroom warbling than Joan Craw- 
ford crooning something or other. However, her danc- 
ing is another thing altogether. It electrifies her entire 
body, which is beautiful, as you know. Miss Davies 
also dances capitally and sings likewise in a handsomely 
staged military drill with a sensational finish, in which 
she appears in her favorite role, that of a smartly turned 
out boy in uniform. She is utterly captivating, and the 
burst of applause which followed it didn't surprise me 
at all, for I contributed more than my share. The same 
can be said of Bessie Love, both in her solo as well as 
her amusing number with Miss Dressier, Miss Moran, 
Cliff Edwards, Charles King, and Gus Edwards, a pic- 
ture of which appears on this page. 

Conrad Nagel also sings, as well as alternates with 
Jack Benny as master of ceremonies, but as gentlemen 
who function in the latter capacity always bore me in- 
tensely, perhaps my appreciation of Mr. Nagel's vocal 
efforts is necessarily tempered by the tedium imposed 
in his other capacity. However, Mr. Benny monopo- 
lizes the functions of interlocutor — a word, by the 
way, which he slurred in pronunciation, as well as com- 
pletely mispronouncing "conjure." Once again I nomi- 
nate as a useful citizen in Hollywood a censor of pro- 

Some day from somewhere will come a man with the 
qualifications of a real master of ceremonies. He will 
be suave, amusing, and civilized — and I'm sure he will 
have the devil's own time getting a job. 

Last, but not least. Norma Shearer and John Gilbert 
perform the balcony scene from "Romeo and Juliet" in 

The Screen in ReViextf 


color, but all the color is, unfortunately, in the 
photography, Mr. Gilbert's voice being too mincing 
and affected for words — Shakespeare's glorious 
words! However, when they burlesque the scene 
in slang Mr. Gilbert shows that he hasn't spent 
fifteen years in the studios for nothing. 

Yes, the "Hollywood Revue" is vastly entertain- 
ing from one standpoint and another. It isn't 
conspicuously original or intelligent, but it is so 
easily the best of its kind that one must not only 
see it, but wait eagerly for the next edition. 


"Hallelujah" is a great picture — so great, indeed, 
that the conscientious reviewer, overwhelmed, feels 
that no words of his can convey its majesty, its 
epic grandeur. For the words commonly used to 
describe other pictures become pale, inadequate. 
Enough to say, then, that there has never been 
another film like it ; that it is the most American 
picture ever produced ; and that it has the sweep 
and surge of an opera rather than the emotional 
appeal of a mere story. For it portrays the soul 
of the negro race as no work has ever approached 
the subject, neither sublimating nor ridiculing the 
poetry, superstition, religion, music, sensuality, and 
optimism inherent in all negroes, but combining 
these qualities in a magnificent, sweeping whole. 

The picture has no relationship to a dramatic 
plot, but it is intensely dramatic, this simple story 
of a young negro cotton picker, Zeke, who is lured 
into a crap game, is fleeced, and in attempting to 
wreak vengeance upon his enemy, accidentally 
shoots his young brother. In atonement, he be- 
comes a wandering preacher, conducting revival 
meetings among his people. The girl responsible 
for his downfall again comes into his life and, 
first jeering at him, her scorn turns to love, her 
love to religious hysteria, and the two go away 
together. Again Zckc's enemy, the girl's former 
paramour, appears, and their elopement is inter- 
rupted by the death of the girl by accident and 
Zckc's savage murder of the man. Released from 
the penitentiary on probation, Zckc returns home light- 
heartedly to the musical rejoicing of his family. 

Indeed, music is the emotional expression most often 
heard throughout the picture — the happy singing of the 
cotton pickers, the crooning of the mother as she goes 
about her work, her lamentations when doom is in the 
air, and the superb outpourings of the congregation 
when laboring in the throes of religious fervor. All this 
is a glorious symphony of American melody. 

As for the all-negro cast, not one of whom has ever 
appeared on the screen before, perfection of type, of 
acting and singing is so uniform that individual praise 
is unnecessary. But let us not fail to spell out the name 
of King Vidor, the director, in platinum stars. 

Rough Stuff — and How! 

"The Cock-eyed World" is a broadside, an explosion, 
the only picture of its kind. But you must have heard 
all this by now. Never have I known the fame of any 
film to spread so quickly, to excite audiences on the 
first warning of its coming and to keep theaters crowded 
long after the time allotted to it. 

Frankly, outrageously vulgar, profane, and abandoned, 
it depicts the amatory exploits of two marine sergeants 
— and it is irresistibly funny. In spite of whatever 
qualms its immorality arouses, and notwithstanding the 
shocking impact of its dialogue upon sensitive ears. "The 
Cock-eyed World" quickly "gets" you. puts you in the 
spirit of the thing, and immediately you forget yourself 


Damita and Victor McLaglen wage the battle of the 
for laughing purposes only in "The Cock-eyed World." 

entirely and become one of the rowdy company on the 
screen. At least that's what it did to me. and I dare 
say thousands of others feel the same way about it. for 
I have seen no one leave the theater while the picture 
was in progress, whereas in the course of many a "nice" 
picture it requires no clairvoyant to know that the per- 
sons constantly departing are doing so from boredom, 
and not to catch a train to the suburbs. But it i- not 
only because of the racy, close-to-the-soil humor and 
biological dialogue that makes the picture a success. It 
is .superbly directed and acted. 

What more is there to say? Of plot there is little or 
none. Just a series of episodes involving Top Sergeant 
Flagg and Sergeant Quirt — those immortals of "What 
Price Glory?" — in- a continuation of their jealous rival- 
ries in scenes that shift from Vladivostok, by way of 
Coney Island, to an unnamed tropical territory. It is in 
the latter that most of the ribaldry occurs, and it is there 
that Lily Damita joins the boys to contribute more than 
a lady's share to the rough indecencies of sex rampant. 
And. really — but what am T saying. T who applaud Betty 
Bronson for purity? — well. Miss Damita is a flaming 
signal to forsake one's books and seek the tropic- ' 

As for Victor McLaglen. as Flagg, and Edmund 
Lowe, as Quirt, they need no cue from me to pat them- 
selves on the back. Fl Brendel. the comedian, is con- 
spicuous in the horseplay, while Solidad Jimmez, the 
mother in "In Old Arizona." again explains why her 
daughters need never go to a finishing school. 


"The Last of Mrs. Cheyney." 

"Smiling Irish Eyes." 

The Screen in ReVievtf 

Backstage At Its Best. 

It is not exactly a new story that you will see in "The Dance of 
Life," but you will see it better clone than ever before, and the 
picture in its entirety will rank with the finest of the new season. 
Faithfully adapted from the play "Burlesque," it tells the story of 
a tender-hearted little dancer who sticks through thick and thin to 
her husband, a likable though worthless clown, whose dumbness 
she overlooks and whose unintentional cruelty she forgives. All 
this yields a series of brilliant character studies sharply etched 
against the background of a cheap burlesque show and the screen's 
most gorgeous and authentic representation of the "Follies." In 
short, this is a picture to miss at your peril, for it will take its 
place among the lasting successes. 

Intimate, revealing, on the screen, it is hardly fair to reduce the 
story to bare words. They could not do justice to the appeal of 
the characters. This lies in their dialogue which deftly, completely, 
uncovers their thoughts and emotions and causes the spectator to 
share their viewpoint amazingly. The picture has the rare and 
precious quality of awakening sympathy for every character. The 
weakness of Skid, the clown, in neglecting Bonny, his wife, with 
his first taste of success on Broadway, is made to seem a lovable 
weakness for which you cannot reproach him, because you know 
what manner of man he is. Nor do you resent Bonny's return to 
him on the eve of her marriage to a good man as merely the striving 
for a happy ending, for you know that it is what a girl like Bonny 
would do in real life. 

Flal Skelly, who played Skid on the stage, undertakes the same 
role on the screen and acquits himself with glory. As for Nancy 
Carroll — well, I don't know where she is headed for unless it be 
among the immortals of the screen, if there are any. She is a 
superb Bonny. Of all the singing actresses, she alone can best 
express heartbreak while raising her voice in joyous song. Dorothy 
Revier. as a "Follies" vamp, is excellent, together with every one 
else in the cast. 

The Great Garbo. 

One of the most brilliantly searching moments of acting ever 
seen in my fifteen years' observation of the screen occurs in "The 
Single Standard." It is furnished by Greta Garbo. She washes 
her hands, then her hair. Ah, but what is not back of this simple 
act, and who could make it mean more ? Even echo is silent. Miss 
Garbo stands on a pinnacle, alone. Only she could make the story 
matter, or give it even ephemeral conviction, for it is a shallow, 
pretentious flirtation with the subject of a woman's right to live her 
life with the freedom enjoyed by a man. It proves nothing except 
that in an emotional extremity a little child shall lead them. 

Beginning with her love affair with an English nobleman dis- 
guised as a chauffeur, who commits suicide, to avoid scandal for 
them both, Ardcn Stuart, the girl who would live freely and fully, 
meets Packy Cannon. Ex-pugilist, artist, sailor, he captivates her 
and she embarks on a lengthy cruise with him. Comes the fateful 
day when Packy thinks that enough is plenty, so he orders his ship 
back to San Francisco. It is then that Ardcn, stunned and crushed, 
stumbles into her cabin and abstractedly washes her hands and 
then, crazily, her hair as if to cleanse herself of the torture that 
consumes her. 

Again in her old surroundings, Arden marries a suitor who has 
faithfully loved her in spite of the lune de micl without benefit of 
clergy. Three years later Packy, haunted by the girl he can't 
forget, comes to take her away and Ardcn is all for going, until she 
is suddenly made aware that her little son shall be the man in her 
life from then on. How she comes to this conclusion is melodra- 
matically set forth, but Miss Garbo succeeds completely in rising 
above the theatrics of the exhibit and exposes a soul in torment. 
Her performance throughout is something to treasure, while the 
meretriciousness of the story and the glitter of the backgrounds 
will further insure the success of the picture, particularly with 
feminine free spirits who see themselves in Ardcn. 

Nils Asther is Packy. I thought him fine. John Mack Brown is 
the husband with a problem. Most people think him fine, too. 
Others are Lane Chandler, Dorothy Sebastian, Robert Castle, and 
the invaluable Kathlyn Williams. 

The Screen in ReViev? 


Pistols for Two. 

If Buddy Rogers is your idol, you'll drool when you see him in 
"River of Romance." If you are one who eccentrically prefers 
Emil Jannings, you won't he hothered by Mr. Rogers in a really 
delightful and intelligent picture, in its way quite equal to "The 
Shopworn Angel," which was directed by the same man, Richard 
Wallace. Incidentally, it is a talking version of the silent picture 
filmed some years ago as "The Fighting Coward," in which Cullcn 
Landis assumed the role now played by Mr. Rogers. So much for 
hiographical data. 

Not only is the story whimsical and attractive, hut it is overlaid 
with satire and occasional burlesque ; the acting is of a high order 
and the reproduction of scenes and manners of the old South is 
exceptional. As you may rememher, the central situation revolves 
around the return of Tom Rumford to his home in the South after 
a long stay in the North. He cannot see the sense of dueling and 
all the romantic nonsense that goes on around him. When Tom 
refuses to fight a fire-eating major for the affections of Elvira 
Jcffcrs, who is engaged to him, he is branded a coward and is sor- 
rowfully driven from home by his father. Then he comes upon 
General Orlando Jackson, a comic bully, from whom he learns that 
if one builds up a reputation for ferocity one doesn't have to do 
much fighting — even in the South. Whereupon Tom returns to his 
home as The Notorious Colonel Blake and, masked, attends a ball. 
He exposes the villains, rights wrongs and claims Lucy, the one 
person who has believed in him and his principles. 

The latter part of the picture is not quite as good as the first, but 
it is quite good enough to maintain a standard higher than average. 

Mr. Rogers is not as easy in the role of the old-fashioned South- 
ern boy as he was with the jazz band leader in "Close Harmony," 
hut he will give satisfaction plus to his idolators. There is no ques- 
tion at all of the complete success of Mary Brian, as Lucy. She 
is thoroughly expert, wholly and unselfconsciously charming, while 
June Collyer surprises with a shrewdly satiric portrait of the trivial, 
vain elder sister. Wallace Beery is richly human as General 
Orlando Jackson, whose bluster he captures with fine skill. 

Crumpets and Pearls. 

English drawing-room comedy flourishes on the screen in "The 
Last of Mrs. Cheyney" — very English, very drawing-roomy. It is 
well acted and handsomely produced, but the recording is so uneven 
that the Wasting voices sometimes heard are hardly in keeping with 
the quality of silken suavity intended. Then, too, I helieve the 
majority of fans will find it rather puzzling to accept as a heroine 
a girl who edges her way into society in order to rob her hostess. 
And I am inclined to think that they will be prejudiced against 
a hero who, professing to love the girl crook, demands that she 
give herself to him — or be turned over to the police. Still another 
strain on conventional credibility is their ultimate marriage. 

Of course the dialogue that brings all this about is amusing. On 
the stage it was called brilliant. But to me it is synthetic brilliance, 
as tricky and shallow as the argument of "The Single Standard," 
a silent picture. However, there's no denying that "The Last of 
Mrs. Cheyney" is a credit to all concerned, not the least of that 
credit going to those who had the courage to choose it for the 
screen. Its artificiality will appeal to those who like to think them- 
selves sophisticated, but I believe the majority of fans will neither 
be amused by the dialogue nor moved by Mrs. Cheney's predica- 
ment. Nor will they nominate Basil Rathbone the man of their 
dreams on the score of his embodiment of Lord Arthur Dilling, 
the philanderer who tries to blackmail Mrs. Cheyney and, defeated, 
offers her love and marriage. 

Shorn of its chatter, the plot is really rather moviesque. A 
former shopgirl poses as Mrs. Cheyney and, financed by a band 
of crooks who masquerade as her servants, she is mistress of a 
mansion in Mayfair, all this for the purpose of robbing the wealthy. 
To convince us that she isn't wholly naughty, she is shown to have 
qualms when the time comes to relieve her hostess of those pearls. 
But Mrs. Cheyney is so sensitive that she can't bear to disappoint 
the boss crook, who has set his heart on having the rope of 
Orientals. So she enters the bedroom and emerges laden. 
Continued on page 96 

"Fast Life." 

EB'.'rz i_ si 





/ i 1 M 

Lb-. ^ 

k' • 

HH ' 

\ 1 

'Street Girl. 



What's Tkis? 

Eight stars appear to tell you 
their nicknames off the screen 
— more remarkable for their sim- 
plicity than for their imagina- 

Rosetta Duncan, left, is called "Heinie " 
for no particular reason. 

Constance Talmadge, right, so chic and 

sophisticated, answers to the prosaic 

name of "Dutch." 

Margaret Livingston, below, is hailed a> 
"Swede'' by those who love her. 

Guinn Williams, above, was 

nicknamed "Big Boy" for a 

very obvious reason. 

Lupino Lane, left, center, is 
affectionately known as "Nip." 

And Leatrice Joy, right, cen- 
ter, labors under the com- 
monplace nickname of "Letty." 

Evelyn Brent, left, has her 

friends to blame for calling 

her by the innocuous name 

of "Betty." 

Marion Byron, right, is 

dubbed "Peanuts" by her pals, 

probably because she's so 



To HimWho Waits 

Failing in go-getter tactics to crash the movie gates, 

Paul Page settled down to stage work — and the 

movies eventually came to him. 

B? William H. McKegg 

STAY away from Hollywood! If you are talented, 
Hollywood will find you!" 
With a cynical, unpleasant grin I read B. P. Schul- 
berg's advice to all aspirants to screen fame. I took it 
that Paramount's production manager was just talking. 
Yet after meeting Paul Page, a newcomer from the stage, 
and listening to his story and philosophy, it seems there 
is some truth in Mr. Schulberg's generalization. 

"While I tormented myself day and night trying to 
land in pictures, I never got a thing from them." Mr. Page 
related. "No sooner had I stopped chasing after them, 
than they sought me out and things came my way." 

There you are! Account for that, if you will. I can't. 
Nor can Mr. Page. It's just one of the phenomena of 
the films. 

Paul was on the stage, but always wanted to get on the 
screen. And why not ? He possessed all the reputed at- 
tributes for screen success. Dark, with a suggestion of the 
Latin in him and quite presentable in every way, it seems 
hardly credible that casting directors should have been 
indifferent to the eager, young applicant. 

Eventually he was given a test by Paramount's Long 
Island studio. In preparing for it, Paul set about with 
many ambitious, go-getting gestures. 

"To this day, I don't believe there was any film in that 
camera," is the young man's suspicion. "It's funny to 
think of now, for I was 
very dramatic, and acted 
for all I was worth. But 
I had been given the test 
through knowing a man 
'high up.' I have since 
learned that studios will 
exert themselves to ac- 
commodate the influential 
fellow, but they never do 
anything for the person 
introduced by him. 

"I was never given a 
glimpse of the result. 
When a test is good, they 
let you see it, but keep it 
on file. If bad, they let 
you take it away as a 
memento of how ridicu- 
lous you look on the 

Mr. Page struck a match 
during the middle of his 
monologue. He was just 
in time to light a cigarette 
with it before it burned 
his fingers. His gestures 
were slow. And, after all, 
he was in plenty of time. 

Paul has the physical re- 
quirements for screen suc- 
cess, plus a long-standing 

Photo by Bull 

A couple of Pages, Anita and 
Paul, discuss his early chasing 
after screen work, and decide 
that the dark chapter has ended. 

To-day, applying his recently 
discovered philosophy, Paul isn't 
in a hurry with anything — not 
even with matches. 

Going back to his test he said, 
"It seemed too bad. I was al- 
most broken up over the fact 
that I had been a failure — as I 
took it that I must have been. 
The stage was my only calling. 
It seemed best to stick to that. 
But I wouldn't abandon hope al- 
together. I still continued to 
chase after films." 

Mr. Page spent most of his 
time being very ambitious. He 
went tearing to this manager's 
office, then to that one's, apply- 
ing for roles in screen produc- 
tions. The young man's life 
was full of action. He believed 
in the go-getter theory. 

While we leave Paul racing 
after film fame and not getting 
it, we can glance at his bi 
raphy. He is a Souther- 
Continued on pace 114 


Wool, But Not Wide 

Indeed, very trim are these flannel trousers worn nowadays by the 
girl tennis enthusiasts of Hollywood. 

Time was when Fay Wray, left, was always 
pictured in chiffon with swans, or something 
equally ethereal, but since playing a gunman's 
gal in "Thunderbolt," we are beginning to sec 
her as she really is. 

Dorothy Gulliver and June Marlowe, right, 

pause in their spirited game to step close to the 

camera for the purpose of joining the other 

trousered beauties on this page. 

Lita Chevret, above, a newcomer to Hollywood, 

is perhaps a little plumper than she will be when 

she gets into the swing of fame, but she wears 

her pants with a way all her own. 

What a broth of a boy is Laura La Plante, left! 
Her figure is fortunately devoid of undulations, 
so she can wear her flannels with the slim straight- 
ness of those who resort to the eighteen-day diet to 
do for them what nature does for her. 

Jean Arthur, right, seems a little self-conscious of 

her trousers, but as she wears them in public, she'll 

soon get over her girlish qualms. 


bhe Couldn't 

Kid Herself 

Dorothy Mackaill bluffed the 
world and herself for a while, 
but finally she achieved a bal- 
ance that assures success and 
peace of mind. 

By Myrtle Gebhart 

WHAT has Hollywood done 
to me?" Dorothy Mack- 
aill's cryptic brows lifted 
her repetition of my question off 
her crisp voice, and it dangled 
there a moment between us, before 
she plunged into the task of an- 
swering it. 

Six years in Hollywood could 
not but effect changes and indent 
marks. A cactus coat could not 
escape the influences with which 
the film town sandpapers its per- 
sonalities and redecorates them. 

Four years ago she said to me, 
"This business offers me money 
and prestige; I intend to get 
ahead." Has she? All right, 
hoys, we heard you ! "I lack much 
imagination." Correct, and better 
tor her. She admitted that her 
illusions had been roughened and 
expressed a flippant cynicism, 
which has been mellowed by a few 
real heartaches into a clearer un- 
derstanding and a more sympa- 
thetic tolerance. Hard-boiled blus- 
ter has become dignity. 

At fourteen, working in an Eng- 
lish newspaper office, she bluffed 
the editors into thinking her older 
and intellectual ; at school in Lon- 
don, in the awkwardness of a mis- 
fit, she bluffed that she didn't mind 

her ostracism ; on the Hippodrome stage she bluffed 
the supper chappies into considering her a blase woman. 
On a pound or two more than passage, she bluffed her 
way to America into the "Follies," to Hollywood. 

She got away with it beautifully, until she started to 
bluff herself. 

When "The Kid," as she used to call herself, got 
Mackaill's number, the jig was up. 

Her career has maintained a steady progress. It has 
been like a ship that rides out the gales so expertly that 
only its navigator knows there has been clanger. She 
has never achieved the extraordinary, cither in success 
or failure. 

Her publicity, characterized by simplicity, has been 
less than that promoting others. A series of neat, little 
news notes — just that, no more. Even marriage and 
separation were negotiated without the customary ado. 
There has been nothing exceptional, unless one accepts 
my own view, that in maintaining level-headcdness in 
Hollywood one accomplishes a rarity, the distinction of 
being unsensational, the minority of the sane. 

Miss Mackaill has 

herself so well in hand that vital personal or professional 
matters no longer disturb her. 

Curiously, her name is never bandied about. Though 
she is far from being a recluse, it is not slithered from 
luncheon to bridge tabic by the gossip brigade. I rather 
think her very disdain disarms them. 

Her answer is a snappy "Yes!" or "No!" or "I don't 
know anything about that." No equivocation, no fum- 
bling, no tactful evasions. 

Any turbulence is well curtained and disciplined. 
Whatever the melee, she emerges undisturbed. Her 
handclasp is quick and firm, her walk brisk; her i 
give you candor. She has been called "The Deer." be- 
cause of the way she throws her head back, a^ though 
listening. Her barbed wit can be caustic. I should not 
want her antagonism. One sharp phrase would lie her 

Only one other star T have known was so brutally 
frank — Anna Q. Nilsson. Even when, for a brief time. 
she went slightly Hollywood and was given to dashing 
to places for the hurrah, she kidded that sort of thing 
and herself. 

"Most important to me is that I have achieved bal- 


She Couldn't Kid Herself 

Dorothy Mackaill prefers roles that are honest, whatever their morals or 

station may be. 

ance." Mackaill spoke my very thoughts of her. 
"When you have that sense of proportion, you have 
peace. I used to think it was success only ; now I know 
it is contentment. When I thought I was hard-boiled 
and bitter, I was merely a silly kid showing off. In 
acquiring actual self-confidence, I have lost the sham 
which goes with bluff. I look life squarely in the face, 
and dare it to lick me. For I know, now, its secret. 
D'you know, it can be rather sweet ! 

"I — I — I " A smile flashed in her gray-green 

eyes and in that odd, little side-quirk of the lips. "Be 
sure to dot them. No — give me a break ! Make them 
capitals ! Aren't actors all // 

''But we have to be egoists. It is essential. An actor 
is made of gossamer stuff, not of the stable firmness 
that can stand routine and chains. He has a quivering- 
something, if you get what I mean, and belief in him- 
self. The average man could not act, because he hasn't 
enough conceit. 

"Let actors talk of their inferiority complexes ; per- 
haps some really fancy they have them. Self -analysis 
that is only skin-deep is a favorite mental exercise in 
Hollywood. They aren't seeing themselves truly. That 
inner urge to act, stronger than a mere impulse, de- 
velops in the actor a bluff, partly assumed but based on 
his ego, until by his work he attains real self-assurance. 

"It's a wonder my back didn't break, carrying so much 
nerve around. My cockiness must have been absurd. 
It wasn't to me — not until I had torn up my contract, 
because I got mad and walked out. I expected them to 

run after me. They called my bluff. 
Friends said I was a fool, that I'd 
never get the money I wanted, or 
another opportunity. Soon I real- 
ized what an idiot I had been. For 
the first time in my life, I was really 

After two idle months, she got 
another chance. Not humbly did 
she ask, for never could it be 'said 
that she was humble ! Let us say 

"That was when I called my own 
bluff, and began to build a solid 
self-confidence. When experience 
proves your ability, you feel estab- 
lished and clear out the superflui- 
ties that must accompany bluff. At 
first, I wanted to wear gorgeous 
clothes, with all the ermine-and- 
orchid trimmings, both in my work 
and personally. To be popular, to 
be seen about, to be in the swim. 
Then I got wise to myself. This 
last year I have stopped playing the 
game of going places and doing 
things expected of an actress, add- 
ing my dab of color to Hollywood's 
surface cosmetic. 

"Fortunately, I had few disap- 
pointments in my work. I felt that 
several roles weren't right for me. 
Studio executives generously ad- 
mitted that results proved me cor- 
rect. That gave me confidence in 
my judgment." 

Characters that are honest, what- 
ever their morals or station or 
drama, appeal to her. "His Captive 
Woman" was a favorite, because of 
the girl's candor. 

"No false sympathy, no crying- 
cowardice. I loathe artificial sentimentality. Why do 
they have to explain a bad woman on the screen, build 
up excuses for her? If her story has drama, why soft- 
soap her?" 

"The Great Divide," second and audible filming, was 
followed by "The Woman on the Jury." An odd cir- 
cumstance is that in the first version of the latter, in 
1924, she refused the second lead. 

While the broad English accent has driven some of 
her countrywomen home, she took a tuck in hers, and 
is studying nuance. 

The heroine of "Classified," retitled "Hard to Get," 
delighted her. Snappy business-girl roles, or common 
gamins, she thinks more real and more worth playing 
than the dressed dummies. 

"Possibly this preference is part of my back-to-nature 
feeling. Assurance of success enables you to drop your 
props, and be yourself, however simple you are ! You 
dare to enjoy that precious freedom in Hollywood, only 
when you know your foothold is secure." 
What sort of good times does she like now? 
"Agua Caliente, flying down, with three men along." 
Her answer had an arrow's swiftness and accuracy. "I 
have a few girl chums, whom I like tremendously. But 
to be quite selfish, which I am, I have a better time 
with men. 

"Mother has helped pull me through things," she re- 
plied to my murmur about the personal tragedies so 
dramatized in Hollywood. That was all ; no sentimental 
Continued on page' 107 

Her FiVe Gifts 

Doris Kenyon has combined successfully 
the responsibilities of wife, mother, house- 
holder, actress, and finds time to write 

B>> Aileen St. John-Brenon 

TWO chic and charming young matrons, 
both blondes and attractive, but friends 
in spite of it, were driving' through 
New York on a shopping expedition. 

Each was the last word in the season's fash- 
ion, one a willowy, responsive creature in 
aquamarine, with restless, eager eyes flashing 
out of her sables ; the other trim and vibrant 
in a delicate shade of rose, with sparkling eyes 
dancing beneath her gay bonnet. 

The former you may recognize, as everybody 
else did along Fifth Avenue, as Doris Kenyon, 
in private life Airs. Milton Sills ; and the other 
was May Allison, long popular on the screen 
in her own right, and now the happy wife of 
James R. Quirk, editor and publisher. 

Miss Kenyon had come East to care for her 
husband, who was recovering from a nervous 
breakdown, while Miss Allison, who has found 
her first true happiness in the undivided occu- 
pation of being "just a wife" — and glorying in 
it — is a permanent addition to Xew York's 
movie set. 

It was by no means their first expedition to- 
gether in search of the elusive frock. They 
had been shopping for days and days, while 

Photo by Carsey 

Miss Kenyon believes that work is essential to her happiness, but 
her family is first in importance. 

models strutted before them ; while they had hummed 
and hawed as overzealous saleswomen insisted that "this 
little number — the latest thing from Paris — photographs 
white" was the gown of gowns for all occasions. While 
they had compared fabrics, prices, and models, alas, the 

Continued on page 106 

Doris gives 
Sills a 
flower, and 
the little 
fellow is 

I Gillum 



With the disappearance of the old order of things 
surprising that these young ladies offer them 

Mary Nolan, left, removes her hampering clothing, swathes 
herself in black gauze, strikes a pose and calls herself the 
muse of modern art. Why not? She certainly knows all about 
the movies, and aren't thev a modern art? • 

Dorothy Gulliver, left, grasps a 
football, dons spangles and high 
heels, and smiles at the camera 
as the muse of sports, or is it 
athletics in a broad way? 

Ruth Elder, right, who knows 
her air pockets as well as 
Colonel Lindbergh, throws 
herself into the task of spon- 
soring aviation and, holding 
aloft a toy airplane, pro- 
claims herself, with a coy 
smile, the very spirit of the 

Little Barbara Kent, right, not to be 
outdone by all these goings on among 
the Universal sisterhood, rushes to 
the grimy machine shop, snatches up 
a diamond-studded monkey wrench 
and calls herself "Mechanics." 




all around us, including self-effacement, it is not 
selves as embodiments of latter-day goddesses. 

June Marlowe, right, her pretty head fairly bursting with zig- 
zags, says she is the soul of electricity, that she just radiates 
magnetism. Be that as it may, let's give her a hand for not 
injuring herself with all those tinny things. 

Mary Philbin, right, dan- 
gling a few yards of film 
from her waist and shoul- 
ders, asks you to accepc 
her as the muse of the 
movies, the goddess of the 
cinema, or what have you? 
Well, it's a big responsi- 
bility, and Mary has a lot 
to answer for right now. 

Kathryn Crawford, left, shows by her 
carefree attitude and the symbols she 
flaunts, that she doesn't give a whoop 
for art. Why should she? For she is 
commercialism, the muse who trips .the 
light fantastic through all the studios 
and brings dreaming stars to their 
senses by whispering "Remember the 
box office." 

Merna Kennedy, right, 
her saxophone poised 
for a blast that shall 
drown every symphony 
ever written, fittingly 
portrays the modern 
muse of jazz whose 
cry is, "Down with 
Beethoven, L i z s t , 
Chopin, and all those 
guys l" 


t'hoto by Autrey 

Victor McLaglen got his professional start by boxing and perform- 
ing feats of strength before he got into the movies. 

He's a Soft-Boiled Egg 

Though you'd never suspect Victor McLaglen of being 
that on the screen, he discloses his real self when he talks 
of his family and the way he is bringing up his children. 

B? Alma Tailed 

IS there a good, rowdy role looking for some one to 
play it on the Fox lot? Page Victor McLaglen. A 
tough marine captain, a baggage smasher, a river 
pirate, a strong man — whenever a Fox film calls for a 
hard-boiled guy in its cast, the directors shout for Victor 

A hard-boiled bozo on the screen. Ugly, with a nose 
flattened by boxing gloves early in bis career — at least, 
I suppose that's how his nose got that way. Six feet 
three. Two hundred and five pounds of brawn. Ex- 
boxer, ex-soldier of fortune. No wonder he's ticketed, 
in the casting department, "hard-boiled." 

That's what he is on the screen. But at home — that's 
a different story. With his family, he's a gentle, devoted 
husband, an adoring father. 

When he came to New York, he had his family with 
him in photographs. His family in person were far 
away in England, visiting relatives. He cabled them 
every other day, Mrs. McLaglen and the two children. 

And he likes to tell you about them. 
Most actors have a favorite topic of con- 
versation. And you don't need three guesses 
to figure out what it is! It's "Me and my 
career and me." 

But when I mentioned movies, McLaglen 
protested. "That's shop talk. When I leave 
the studio, I like to forget work." 

So I mentioned his family, and you could 
see at once what it is he likes to remember 
when he forgets work. Does any one think 
Victor McLaglen's hard-boiled? Well, they 
should see his eyes light up when he talks 
about his family. 

"The children? There are a boy and a 
girl. I'm Scotch-Irish, you know, so the 
boy has a Scotch name, Andrew, and the little 
girl an Irish name, Sheila. 

"And you should see my boy!" Proud 
papa beamed. Obviously he's one of these 
fathers who wanted a son and got him ! 

"Andrew's mine, and the smartest young- 
ster you ever saw. He's the lightweight 
champion of his school ; he swims ; he rides. 
When he was six, and just learning to ride, 
he fell off his horse. He blinked at me a 
little, with tears in his eyes ; he wasn't quite 
sure whether to cry, or to laugh. But he 
wasn't hurt, so I just looked at him very 
sternly, and without a word he climbed right 
back on his horse again. 

"Not long ago his school held a track meet 
and I went to watch. The high-jumping 
event came along, and I saw to my surprise 
that Andrew was entered in it. 

" 'He can't be much good at jumping,' I 
told myself, 'he's never said a word at home 
about jumping. He'll probably drop out in 
the first round.' As each boy failed to clear 
the obstacle, of course, he dropped out. 

"So I waited for Andrew to be eliminated. 
He cleared it the first time. 'He'll be out 
next time,' I thought. But he wasn't. The 
other kids kept dropping out by twos and 
threes and fours, and Andrew kept on going 
and going, a regular jumping jack. Until 
first thing I knew, there he was, with only 
one other boy. Then the other boy dropped 
out, too, and they were giving Andrew higher 
and higher jumps to make. Why, the kid was 
the champion jumper and hadn't even men- 
tioned it. 

'Along with his athletic side, Andrew's got 
the softest, kindest heart you ever saw. The other day 
he saw a spider and he couldn't kill it. 'You kill it if you 
want to, dad,' he said, 'I can't step on it.' 

"He loves flowers. Maybe he gets that from me. I 
love flowers, but I don't know one from another. 

"I try to train Andrew to be completely self-reliant, 
and to know the value of money. It doesn't do for 
kids to grow up without learning about such things. 

"So I have a big blackboard at home, with a list of att 
the stocks I own, and how much I paid for each. Then 
I give Andrew a dollar a week to keep up with the 
market prices and record them after the names of the 
stocks. He takes quite an interest in it, too ; he'll come 
to me and say, 'Dad, your railroad stock went up three 
points. to-day.' He watches the quotations every day. 

"So you see he's not good only at athletics. I try to 
bring him up to be bright in every way, a first-rate, all- 
round youngster. Would you like to see his picture?" 
Continued on page 94 

I •) 

1'hoto by Max Muii Aulrey 

Victor MacLaglen is a hard-boiled guy on the screen, but at home 

he's a three-minute egg, softly devoted to his family, says Alma 

Talley in her engaging story opposite, which is easily the most 

revealing ever written about the big fellow. 


A Fatal Seance 

It occurs in "The Thirteenth 
Chair," forerunner of all the mys- 
tery melodramas, 'now brought to 
the screen in dialogue. 

Margaret Wycherly, top of page, center, as Rosa- 
lie la Grange, the medium, is surrounded by the 
twelve persons interested in solving the murder. 

The same characters are seen, below, after Rosalie 
la Grange's first seance is unsuccessful. 

Moon Carroll, above, as Helen 
Trent, John Davidson, as Ed- 
ward Wales, and Leila Hyams, 
as Helen O'Ncil, lock hands at 
the medium's request. 

Leila Hyams, as Helen O'Neil, 
outer left, is accused by John 
Davidson of murder, while 
Conrad Nagel, as Richard 
Crosby, defends her and Holmes 
Herbert looks on. 


A Song Writer's Wife 

Hers is not a happy lot, but Norma Talmadge, 

in "New York Nights," her first dialogue film, 

promises revelations galore. 

Miss Talmadge, as Jill, at top of page, has left her husband 
for John Wray, as Joe Prividio. 

Gilbert Roland, right, as Fred Deverne, the song writer, 
with Miss Talmadge, as Jill. 

A glimpse of their home life is seen, below, with Lilyan 
Tashman as an interested visitor. 

In the oval, lower right, are Miss Talmadge and Mr. 




Bess Lee, Cornelia Thaw, 
Lulu Talma, and Geor- 
gette Rhodes form the 
charming fresco at top of 

Miss Bordoni, a re- 
splendent figure, center, 
sings one of her in- 
imitable songs. 

Jack Buchanan, a fa- 
vorite of the London 
stage, above, teaches 
Louise Closser Hale how 
to be gay though old. 

Irene Bordoni, above, 
looks on at Mr. Bu- 
chanan's lesson in amaze- 
ment, while Jason Rob- 
ards primly disapproves 
of the change in his 
aunt's deportment 

Miss Bordoni and Mr. 
Buchanan, left, in a sing- 
ing interlude, one of 
many in the picture. 


Gloria Swanson, at top 
of page, with Robert 
Ames and Wally Al- 
bright, Jr. 

Miss Swanson, above, as 
Marion Donnell, the 
stenographer whose 
crowded life is the sub- 
ject of the story. 

Miss Swanson, center, as 
a proud, young mother. 

Henry B. Walthall, 
above, as Fuller, confi- 
dential employee of the 
millionaire who is pro- 
viding for Marion, tells 
her that he is mortally ill 

Miss Swanson, left, finds 
dictation difficult because 
her thoughts are on her 
impending elopement with 
a millionaire's son. 


A Merry 

He's Maurice Chevalier, of 

laughter and song the 

vania in "The 

Jeanette MacDonald, left, as 
Queen Louise, is attended by her 
ladies-in-waiting, Virginia Bruce, 
Josephine Hall, Helene Friend, 
and Rosalind Charles as they sing 
"My Dream Lover." 

Maurice Chevalier, below, as 

Alfred, the prince consort who 

becomes king, in a characteristic 


Lupino Lane, above, as Jacques, Alfred's 

valet, has many a droll scene with Lillian 

Roth, as Lulu, the Queen's maid. 

Jeanette MacDonald, right, and Maurice 
Chevalier have a little tiff about their 
unequal rank, for she is a queen, you know, 
and he is but a prince consort until her love 
makes him king. 




course, and he rules with 
mythical kingdom of Syl- 
Love Parade." 

Jeanette MacDonald and Maurice 
Chevalier, right, sing "Anything 
to Please the Queen," one of the 
many gay, sophisticated numbers 
promised in "The Love Parade." 

Miss MacDonald, below, a bril- 
liant figure in musical comedy, 
makes her screen debut with 
every assurance of success. 

** i =•■ 

* Vv 

Mr. Chevalier, above, feels that he is .1 
man first and the husband of a queen after- 
ward, so he refuses to take orders from 
Miss MacDonald. 

Ah. hui when the last scene is reached, left, 
and iiff> and quarrels are forgotten. Ifiss 
MacDonald and Mr. Chevalier remember 
that there reall> isn't anything else but low 



Colleen Moore pledges herself to be 
very worldly in "Footlights and Fools." 

Colleen Moore, at top of page, as Fiji 

d'Auray, star of a musical show, is really 

Betty Murphy with a Paris label. 

Miss Moore, above, has 
many moments of whole- 
hearted comedy as she 
pretends to be French. 


Thanks to a large reper- 
toire of wigs, Miss 
Moore, above, changes 
her appearance many 
times, including her 
transformation, center. 


Andy Rice, Jr., above, tries to convince 

Miss Moore that he sees through her 


Raymond Hackett, above, as Jimmie 

IVillet, has a guilty conscience, but 

Miss Moore's trust is unshaken. 






An amusing th 
trating discuss 
subject that 





Elsi Q 


Illustrated f> 
L u i Tru; 1 

CENSOR baiting having become, next to circum- 
vention of the Eighteenth Amendment, the most 
popular sport in America, it is admittedly a risky- 
business to lift one's voice in defense of the despised 
breed ; yet to those of us whose sympathies are inher- 
ently with the under dog, it seems high time that some- 
body put in a kind word for at least one division of the 
species, to wit, the well-meaning, if misguided, custodian 
of film morals. 

His is certainly no bed of roses, and if he is fre- 
quently crowned, it is not with laurel. Virtue is its own, 
and in most cases his only, reward. Such censor boards 
as do not serve gratuitously, receive a stipend so dis- 
proportionate to the labors involved as to be practically 

Consider for a moment what it must mean to be born 
with a censorial mind. Fancy the agonies of the in- 
articulate infant on beholding its nursemaid in clandes- 
tine flirtation with the corner cop ! Or, in more humble 
circumstances, imagine its embarrassment to discover its 
mother engaged in unseemly badinage with the iceman ! 
Such seeming trifles have an incalculable effect upon the 
delicate nervous organism of the congenital censor, and 
often account in later life for a mental attitude incom- 
prehensible to less sensitive natures. 

It is little short of barbarous to hold this affliction up 
to ridicule. What a censor must suffer in the course 
of his self-inflicted martyrdom will hardly bear thinking 
of. It is estimated that in order to keep up with the out- 
put a really diligent indecency-expert must witness an 
average of two films per day. This alone should entitle 
him to the diamond-studded medal for endurance. Stop 
and think for a moment, you who pay your money, take 
your choice, and walk out on the show if you don't like 
it, what this sacrifice involves. 

And bear in mind that he goes to his task not in the 
light-hearted and hopeful mood in which even the most 
disillusioned of us approaches a new movie, but as one 
led to the stake, with every quivering sensibility attuned 
to lurking impropriety, impurity, immodesty, and inde- 
corum, not to mention uncleanness, unseemliness, coarse- 
ness, foulness, and grossness. 

No love scene is for him just a love scene. He must 
hold a stop-watch on the clinches, and estimate and re- 
cord the calorific intensity of each kiss. Where some 
of the more delicate-minded of us close our eyes from 
an instinctive aversion to intruding on the privacy of 
even the make-believe big moments of screen lovers, he 
must look and look and look risrht into the final fade-out. 

And now he must listen, as well as look. His ears are 
assailed by a multitude of offensive sounds, from which 
he must differentiate, if he can. those which might have 
some impure significance from those which are of purely 
adenoidal origin. 

Both the public and the producers take a diabolical de- 
light in evading censorial mandates. Let a book, picture, 
play, or film be officially condemned as indecent, and, 
no matter how unworthy it may be as a work of art, it is 
almost sure of commercial success. England was amazed 
at the popularity which Michael Arlen's somewhat pif- 
fling story, "The Green Hat," enjoyed in the United 
States, and was still more amazed when it reached the 
screen over there as "A Woman of Affairs." 

Piffle has been reduced to sheer inanity in the effort 
to meet a hypocritical moral standard which is supposed 
to represent the American ideal. No conscientious cen- 
sor could see this film, without a depressing realization 
of the hopelessness of his aims and aspirations. Such 
strength as the novel had lay in its relentless portrayal 
of social decadence. It might have conveyed a moral 
lesson if truthfully handled on the screen. But such are 
the illogical demands of film censorship, that the un- 
wholesome conditions which reacted so tragically on the 
lives of the characters in the story couldn't even be 
hinted at on the screen. 

The mad Marches, who become the mad Merricks in 
the film version, are pictured as a pair of jolly young 
moderns, without a suggestion of that taint of decay 
which made them such pathetic figures in the novel. 
Thus the theme of the story is distorted and the subse- 
quent actions of the characters become meaningless. 
John Gilbert, as Neville, walks through the sappiest role 
of his career, thanks to the evasion which bases his 
father's objection to the girl of his heart, Diana Merrick, 
solety on the fact that she has a lot more money than 

It must be said of Greta Garbo that she looks the part 
of the misunderstood lady of the green hat, but her per- 
formance leaves us cold, because of the false situations. 
For instance, the pivotal scene, after she has been sep- 
arated from Neville and marries the supposedly impec- 
cable David, who commits suicide on their bridal night 
"for purity," has been so ridiculously censorized that her 
subsequent sacrifice seems silly. American audiences are 
not presumed to know that moral lepers like David exist ; 
it wouldn't be nice! So he becomes a mere embezzler 
and hurls himself out of the window "for decency," after 
Continued on page 116 


The Albertina Rasch ballet is a feature 
of "The Hollywood Revue." 

WHERE is the bathing beauty of 
yesteryear? Gone is the day 
when no short comedy was 
complete without a liberal display of 
her voluptuous charm. The screen has 
seen less and less of her of late years ; 
and the talkies apparently have sounded 
her death knell. Mack Sennett, who 
originated the film beach girl, has def- 
initely declared that there is no place 
in vocal celluloid for the merely dec- 
orative damsel. 

In some respects the passing of the 
bathing-beauty squad is to be regretted. 
a great training school for embryo stars, 
offered hundreds of inexperienced girl 

Josephine Houston, center, and a bevy of beau 
ties in "On With the Show." 

The CKorine 

The passing of the bathing-beauty 
squad from the screen makes way 
for a new mainstay of the talkies, 
the chorus girl. Will the movies 
be her stepping-stone to stardom? 

A chorus num- 
b e r from 
"Climbing the 
Golden Stairs." 

chance to earn while learning to act. 
It gave them the opportunity of steal- 
ing scenes from star comedians such as 
has never been known since in the an- 
nals of extra work. Of late years the 
going has been getting harder and 
harder for the extra girl. Even if she 
had the rare fortune to work regularly, 
she found that she was put in the back- 
ground of scenes, often out of focus. 
Then came the talkies, with their in- 
timate dialogue between principals, and 
even fewer opportunities for extras. 


Hal Skelly does his stuff against a background of girls in 



to Stay 

By H. A. Woodmansee 

Arthur Lake and the 

chorus girls in "On 

With the Show." 

style bathing 
beauty, who 
could only 
pose in her 
one costume, 
and could not 
bring singing 
and dancing 
to her aid. 
onotony killed the 
bathing girl ; the far 
greater range of the 
new type seems to 
assure her screen im- 
Will movie history repeat itself? 
Will the chorus occupy the niche 
of the old bathing-beauty squad as 
a stepping-stone to stardom for the 
talented unknown? Will it bring 
forth players of the ability and 
charm of Phyllis Haver, Gloria Swanson, Marie 
Prevost? [Continued on page 116] 

A snappy sextet of dancers from "The Broadway 

Then came, not the dawn, but "The 
Broadway Melody," with a flashing display 
of music, dancing, costumes, girls, legs. The 
public showed in no unmistakable way that it 
approved. Immediately every producer began 
blming musical plays, with scantily draped 
dancing and singing beauties. And so we have 
with us the film chorus girl, logical successor 
to the bathing beauty. 

She seems destined to be not a passing fad, 
but one of the permanent mainstays of the 
talkies, as she has been of the stage. Her ap- 
peal is so much more varied than that of the old- 


Audrey Ferris, center left, experiments with what might have been the 
first sight-seeing bus. 

~- / ' // 


Back in 1904 they tore around town in a vehicle such as Victor Fleming 
and Nancy Carroll, left, are riding. 

Sally Rand, below, used to think the 1908 model would run. 



JbasV Lome, tasV vjo 


Like the ebb and flow of the tide, new faces appear 

and disappear from the screen, while old ones 

surprisingly come back. This suave story glitters 

with examples of transient fame. 

By Willard Chamberlin 

IS the avalanche of new faces crowding out the old 
favorites? At first glance, you would say yes. I 
Every one now is new. You pick up a fan maga- 
zine. You see there pictures of Nancy Drexel, Sally 
Phipps, Dorothy Janis, Diane Ellis, Carol Lombard, 
Sally Eilers, Betty Boyd, Ethlyne Clair, Nena Ouartaro. 
"Who are these?" you ask. "They are not stars, I 
know. I do not know Helen Twelvetrees, Betsy Lee, 
Mona Rico, Flora Bramley, Alary Mayberry, Dolores 
Brinkman, Fay Webb, or Anita Garvin. Why are 
their pictures crowding the magazines ? They have 
never done anything for films. Where are the stars 
of a year — a month — a week ago? Where is my favor- 
ite? Why do I see portraits of Frances Lee, Lupita 
Tovar, and Lia Tora, instead of ones of Alice Terry, 
Blanche Sweet, Claire Windsor, Anna Q. Nilsson, 
Aileen Pringle, and Pauline Starke? Names which are 
passwords in the realm 
of pictures." 

Diane Ellis is one of 
many newcomers. 

Mona Rico received a great deal of pub- 
licity on the strength of her "discovery." 

One by one, it seems, they drop from 
view — disappear. Where, indeed, are Pris- 
cilla Dean, Anita Stewart. Alice Calhoun, 
Viola Dana, Sylvia Brcamer, and Ethel 
Clayton? It seems but yesterday that 
Wanda Plawley, Mac Marsh, Alice Lake, 
Lillian Rich, Dorothy Phillips, and May 
Allison were shining lights, riding on the 
crest of the movie wave. Where are they 
now ? 

Why are others, though still playing, 
submerged in a dim background? Capable, 
attractive, but inconspicuous — Vera Rey- 
nolds, Virginia Valli, Pauline Garon. Seena 
Owen, Alberta Vaughn, Shirley Mason, 
Barbara Bedford. Myrtle Stedman, June 
Marlowe, Kathleen Key, Edith Roberts, 
Julanne Johnston, Eileen Percy, and Vir- 
ginia Lee Corbin. 

But on the other hand, how many of 

these new girlies, with golden tresses and 

big, blue eyes, who come to Hollywood in 

carload lots from this high school and that 

night club, find that they should have come 

on a round-trip ticket, for the film capital 

soon bids them farewell — forever. They 

find there must be something under the burnished tresses, and that hare legs do 

not make a movie — not even a "Broadway Melody." A few magazine poses, some 

high touting and introducing, and that's all. Two thirds of the new faces hailed 

in the monthlies as new personalities never reach the screen. They go, just the same 

as the old favorites go. 

And while all this posing and undressing is going on, some of the familiar, worth- 
while figures of filmdom, who disappeared a year or two, or even longer 
come swinging back, smiling and lovely as ever. And they have a reputation which 
will let them back in. 

The sudden influx of established players to prominence within the past year is really 

Constance Bennett disappeared from 
the screen, but is back again. 


Easy Come, Easy Go 

sonable women on the screen. She is back again after her acci- 
dent, and some time ago gave one of her clever performances 
in "Blockade." Do you remember when Anna Q. and Betty 
Compson played together in "The Rustle of Silk"? 

Bessie Love's sensational comeback was meteoric, to say the 
least. Bessie was already to pack up her ukulele and so forth 
and skip for other climes, when she suddenly showed them 
how in "The Broadway Melody," and this adroit little lady de- 
cided she wouldn't quit Hollywood just yet, you bet ! Bessie 
has been a faithful trouper, appearing nicely in picture after 
picture that was shown only at the neighborhood theater around 
the corner. Now M.-G.-M. has gobbled her right up, so to 
speak ! 

Marguerite de la Motte was not having her picture in the 
rotogravure sections any too often, which is a sure sign of 
waning popularity. Marguerite was fast losing her prestige. 
Then Douglas Fairbanks, just to show he was a good sport, 

made a sequel to "The Three 

Who is Lupita Tovar? 

Nena Quartaro, like many others, comes 
and goes. 

Of course, Betty Compson must be 
mentioned first, even though you are 
already familiar with her comeback. It 
seems too much cannot be said about it. 
That it has a sentimental significance 
is shown in the constant references to 
it and to Betty's ability. After strug- 
gling through the studios on Poverty 
Row, appearing in "quantity products," 
the real Betty Compson fading further 
and further from her 
rightful place in the 
film world, she came 
suddenly back with an 
unbroken series of fine 
performances, her wist- 
ful beauty shining out 
again from the front 
ranks. She has found, 
as the song of one of 
her pictures says, that 
"every weary river some 
day meets the sea." 
Betty is a real actress, 
and who wouldn't much 
rather see her act than 
watch Rose Robin or 
Lili Lipstick pout in 
lace scanties? 

Anna Q. Nilsson is 
one of the screen's few 
"old-timers" to retain 
her charm and popu- 
larity through scores of 
pictures, and even now 
can be numbered among 
the smartest, most per- 

Sally Phipps makes spo- 
radic appearances. 

Musketeers," with some of the 
members of the original cast, 
and Marguerite was one of 
them. And so she had her 
name in print again. Will it 
mean a chance to return? 

Every one is glad Mae 
Busch finally had a bit of luck. 
Poor Mae. She is another of 
the really good actresses who 
has never been appreciated. I 
have seen her give splendid 
characterizations in mediocre 
films which were otherwise 
hardly worth showing. Lon 
Chaney recognized her ability 
and gave her roles in "The 
Unholy Three" and "While 
the City Sleeps." She had an 
artificial role in "Fazil," which 
nobody paid any attention to. 
And thus she continued slid- 
ing into 
ob li vion. 
Then the 
of "Night- 
s t i c k," 
w h i c h 
comes to 
the screen 
as "Alibi," 
gave Mae a 
lead. It is 
a United 
Artists pic- 
ture, and 
an impor- 
tant part in 
a United 
Artists film 
is no small 

Frances Lee. 

Why has Pauline Garon 
never been "discovered"? 

Easy Come, Easy 

matter. Here's hoping she stays there, where she belongs. 
Up high. 

Lila Lee was a little somebody playing in this and that for 
companies nobody had ever heard of. And she used to be a 
Paramount star. You remember her opposite Thomas Meighan 
in his old pictures? Well, all of a sudden, a svelte and chic 
siren appeared in a picture of marital complications called "Just 
Married," and the siren was Lila Lee, in sleek coiffure and 
earrings. And now she's opposite Richard Barthelmess, in 
"Drag," and Tommy Meighan again in "The Argyle Case." 
Just like old times ! 

There was another popular actress who, about five years ago, 
was one of Paramount's box-office bets and would have ranked 
high in a popularity contest. You remember Agnes Ayres? 
She married Manuel Reachi and retired. She made only one 
important appearance after that. Rudolph Valentino wanted 
her for the flash-backs in "Son 
of the Sheik." And so she 
made a little aftermath in 
Rudy's last picture. Then I 
saw her in a two-reel comedy. 
Imagine Agnes Ayres racing 
through one of those trick 
houses ! It was a pretty good 
comedy as comedies go, but not 
a vehicle for the lovely Agnes. 
More fitting was the "Lady of 
Victories," a color film, with 
Miss Ayres as the Empress 
Josephine. But, of course, not 
an important picture, one not 
generally shown. Now there 
is a finis to Agnes' marriage, 
and she has returned, more 
beautiful than ever, in the all- 
talkie. "The Donovan Affair." 

Where others succeed, there 
is always one who fails. A note 

Bessie Love's comeback is now 




a year Helen Twelvetrees 
been widely publicized. 


of real tragedy is struck in the almost 
successful comeback of the gorgeous 
Alma Rubens. Absent from the 
screen for some time, Alma returned. 
a striking figure in a John Gilbert 
success, "The Masks of the Devil." 
Then the wonderful opportunity to 
play Julie in the eagerly awaited 
"Show Boat." Followed by a poign- 
ant role in "She Goes to War." 
Success indeed ! Then Alma's 
dream castle crashed. She col- 
lapsed in a nervous breakdown. 
Unpleasant publicity swiftly and 
surely broke down the walls of 
her success. To-day she is in a 
California sanitarium for narcotic 
addicts, a pitiful figure. Some 
day, perhaps. Alma will have an- 
other chance. She is too beauti- 
ful to go down in defeat. And 
yet there was Barbara La Marr. 
Doris Kenyon has made a 
gradual return to prominence 
during the past year. Doris re- 
tired from films after her mar- 
riage to Milton Sills to attend to 
more important domestic duties. 
When she came back it was as 
her husband's leading lady in a 
series of his pictures, but in these 
she was subordinated to his more 
dominant personality. Then she 
appeared in "The Home-town- 
ers" and "Interference." two of 
the better films. She was once 
more an important player. 

Alberta Vaughn, capable but in- 


Easy Come, Easy Go 

Betsy Lee has 

played few 


Betty Compson's re- 
turn to prominence 
was spectacular. 

Mildred Harris is 
another old-timer 
who has recently 
bloomed again after 
a period of acting 
"depression." Al- 
though Mildred is 
no longer sweet 
sixteen, she is still 
attractive, and Uni- 
versal gave her the 
feminine lead in its 
first all-talkie, "The 
Melody of Love." 
She has also been 
seen in "Lingerie" 
and "Power of the 

Press" for smaller companies, and in Billie Dove's 
"Heart of a Follies Girl." A recent portrait of Mil- 
dred in a shoulder-length bob was charming. How 
these actresses keep their youth ! 

Another is Jane Novak. After having all but for- 
gotten Jane, it was rather a surprise to see her with 
Richard Dix in his color film, "Redskin." She did good 
work. Nothing startling, to be sure, but a sincere per- 
formance as the school-teacher. And so we find Jane 
Novak with us again. 

And Ruth Clifford. You remember her blond beauty. 
She resembles the newer Dorothy Revier. But there 
is room for the old, too, it seems. At any rate, the cast 
of Olive Borden's "The Eternal Woman" numbers 
Ruth Clifford in a prominent role. 

Do you remember Kathlyn Williams when she was 
starring in railroad thrillers and serial sensations ? That 
was some time ago. The Kathlyn Williams whom we 
see to-day is undeniably older, but she has found oppor- 
tunity to play middle-aged mothers and society matrons, 

and has returned effectively in "Our Dancing Daugh- 
ters" and "Honeymoon Flats." Gladys Brockwell 
and Ethel Grey Terry are other erstwhile favorites 
who have returned in a similar manner. Miss Brock- 
well in particular has been successful in Vitaphone 

Further proof that the experienced are wanted in 
talking films is evidenced in the case of Helene Chad- 
wick, who it seemed was in the last, sad stages of a 
long screen career. Then Paramount signed her for 
a leading role in an important talkie, "The Greene 
Murder Case." So Miss Chadwick will postpone her 
swan song for an encore or two. 

It is true that some of the old recruits take a few 
downward steps in their return to the screen. Kath- 
leen Clifford, for instance. There is quite a grand 
stairway between her colorful role of the medieval 
queen in the spectacular "Robin Hood" five or six 
years ago, and the slangy hoofer in the backstage 
scenes of "Excess Baggage." In one sense. And yet, 
perhaps, the latter role was the better example of real 
acting, even if it lacked the 
prestige of the former. 

Do you remember when 
Winifred Bryson used to en- 
act sirens and duchesses and 
the like? We do, and we re- 
member her last in "The 
Hunchback of Notre Dame." 
After that she retired profes- 
sionally and was known simply 
as the wife of Warner Baxter. 
Recently, however, she was 
seen anew in Billie Dove's 
"Adoration." A duchess again, 
but this time an impoverished 
Continued on page 117 

Betty Boyd frolicks in Educa- 
tional comedies. 


A Metro - Gold wyn - Mayer 


Who Made "The BIG PARADE" 

'Like little children that ain 't growed up' 

CLAP yo' hands! Slap yo' 
thigh! "Hallelujah" is here! 
"Hallelujah" the great! "Halle- 
lujah" the first truly epic picture 
portraying the soul of the col- 
ored race. Destined to take its 
place in filmdom's Hall of Fame 
along with "The Big Parade," 
"The Broadway Melody" and 
"The Hollywood Revue." 5 King 
Vidor wrote and directed this 
stirring all -negro drama, this 
absorbing story of the colored 
boy, indirectly responsible for 
his young brother's death in a 
gaming house brawl, who be- 
comes a negro revivalist; of his 
devotion to his ideals; and of his 
craving for a seductive "yaller 
girl." 5 The soul of the colored 
race is immortalized in "Hal- 
lelujah." Every phase 
of their picturesque 

lives — their fierce loves, their 
joyous, carefree pursuit of happi- 
ness, their hates and passions — 
finds dramatic expression against 
vivid backgrounds of cabarets, 
cotton fields, gaming houses, and 
humble shacks called home. 
5 Daniel Haynes, noted Negro 
singer, plays the central char- 
acter. Nina Mae McKinney, a 
beauty discovered in the night 
clubs of Harlem, has the leading 
feminine role. In addition, the 
celebrated Dixie Jubilee Singers 
and other noted performers sing 
the songs of the negro as they 
have never been sung before. 
Don't miss this tremendous 
event in the history of 
the screen! 

Now playing simultaneously 
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''Soon forgotten were the fields of cotton' 


'More Stars Than There Are in Heafen' 

"The Web Of Destiny," a new serial by Alice M. 
Williamson, begins in Love Story Magazine on 
October 5th. 

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Snort and Snappy 

Brevity in dress coats is the rule for tropical 

^ ' 



I 0* 

i { * M H 

Philip Strange and Lily Damita, above, in 
"The Rescue." 

O. P. Heggie, right, wears the tropical dress 
uniform in "The Wheel of Life/' 

Although best known in rough garb, Victor 
McLaglen, below, dresses up for 
"The Black Watch." 

Neil Hamilton and Baclanova, above, are victims of torrid 
love in "A Dangerous Woman." 

Richard Dix, below, affects the short, white coat in "The 
Wheel of Life." 


92 Tneir 

Continued from page 19 
the radio, or phonograph, and con- 
duct the unseen orchestra. If I were 
to do that, would my guests care to 
repeat their visit? 

But Charlie is a genius. 

When that brilliant English 
woman, Clare Sheridan, came to this 
country, she visited Hollywood and 
met Chaplin. In her "American 
Diary" she relates what occurred 
when Charlie saw her sculptured 
head of him. Clare writes as fol- 
lows : 

' 'It might be the head of a crim- 
inal, mightn't it ' he remarked, 

and proceeded to elaborate a sudden 
theory that criminals and artists were 
psychologically akin. On reflection 
we all have a flame — a burning flame 
of impulse, a vision, a sidetracked 
mind, a deep sense of unlawfulness." 

It seems a genius possesses this 
flame to a marked degree ! 

Sometimes Charlie is tremendously 
gay — laughing, jesting, the life of 
the party ; conducting unseen orches- 
tras ; making grandiloquent speeches 
to imaginary audiences. 

Just as quickly he turns to the 
other extreme. He seeks solitude, 
where the torments and sorrows of 
the world surge through his wracked 

Chaplin is no poseur. I believe he 
genuinely expresses what he really 
feels. He anticipated Eugene 
O'Neill's "Strange Interlude" by 
asking his few friends — when no 
women were present — to "think 
aloud." That's most embarrassing, 
if you are one of those soul-tossed 

Actions Speak Louder Than Words 

beings flung into the vortex of ar- 
tistic expression. 

After a period of intense solitude 
Charlie returns to Hollywood and 
Henry's, as if nothing had ever 
troubled him. 

Could you put up with Charlie's 
moods ? You could not ? Then you 
have no compassion for the feelings 
of a genius. 

One fond gesture of a genius is 
"to bare his soul to the world." How 
many of the dear players, both young 
and old, are reveling in their "soul 
barings" — though the soul seems not 
so much bared as 

Well, I'm alluding only to those 
possessing genius. 

John Gilbert, for example. 

John may be compared with his 
namesake of the Barrymore clan. 
His life and loves have been de- 
scribed frankly and vividly by him- 
self. John has no use for evasion. 
His love throes have sounded like at- 
tacks of measles. 

His love episode with Greta Garbo 
amounted almost to a national epic. 
The Gilbert-Garbo affair blazed over 
the world and received more reclame 
than Madame Curie ever received for 
discovering radium. 

But John deserves praise for be- 
ing honest in his utterances, at least. 

Part of Don Ryan's startling 
novel, "Angel's Flight," depicts vari- 
ous ones of genius in the film capi- 
tal. John is the young actor de- 
scribed by the author. If this be so, 
then John has jolly well seen life, as 
they say. 

The only excuse I can make for 
J. G.'s peccadillos is that he can't be 
ordinary. You've got it — he's a 
genius ! 

Would you enjoy living with a 
genius? I should prefer not. 

One night, while driving down to 
the beach with Eddie Nugent, I lis- 
tened to this interesting young man's 
ideas and desires, both active and 
suppressed, while Samuel Richard 
Mook, one of my fellow scribes — - 
without adjectives — sat behind in the 
rumble seat. One of Eddie's sup- 
pressed desires is to conduct an or- 
chestra. He told me that so great 
is this yearning, that if he is alone 
when he turns on the radio he imag- 
ines himself to be the conductor! 

But Eddie is not like Chaplin by 
any means. If Eddie ever became a 
genius he'd be the last person to 
know it. He's too regular. 

Before starting on our nocturnal 
ride, I suddenly thought I'd need an 
overcoat while driving. Eddie went 
in and fetched a ridiculous-looking 
coat he had worn in a picture. But 
did it go against my artistic feelings 
to wear it? Not on your life! If 
the coat did not look quite right on 
me, I hoped that people, glancing at 
the flashing car, would mistake me 
for a genius ! 

Believe me, boys and girls, I could 
easily pass up the company of the 
great — excepting la Goudal — for an 
evening spent with young Nugent, 
who has tons of knowledge, but acts 
like an ordinary person — even as you 
and I! 


Continued from page 21 
The situation is symbolic of Hol- 
lywood at the present moment. Al- 
though the Forbeses have made up 
their differences, the rest of the town 
is an armed camp. Each day brings 
some new and startling development 
in the wake of stage players crowding 
to the fore. They have taken the 
Coast by storm. Their doings make 
the front pages of the newspapers. 

John Gilbert even married one of 
them, Ina Claire, three weeks after 
they met. This is significant of the 

Battle of the Accents 

hysteria which prevails in the film 
colony. No wonder Joan Crawford 
took young Doug to New York for 
their marriage ceremony. With 
stage sirens of all ages cluttering up 
the erstwhile Eden of the screen, the 
place is no longer safe for susceptible 
and bedazzled picture stars of the 
male persuasion. 

Hollywood is no longer a happy 
hunting ground for interviewers, 
either. Their feud with the stars 
dates from the ushering in of the new 

order. It is the thing now to high- 
hat the humble fan scribe, once fed 
and tenderly nourished, before the 
infant industry learned to talk. 

There is one hope for embroiled 
Hollywood. Maybe Henry Ford will 
drop his scrap with his greatest com- 
petitor long enough to think up a 
plan to get our boys and girls out of 
the trenches before Christmas. Other- 
wise it looks as though we are in for 
a Seven Years' War. 


The old town's changed ; they ain't no more 

Swappin' tales at the grocery store, 

Pitchin' quoits, er huskin' bees, 

Quiltin' parties, er social teas. 

No barn dances when the hayin's done, 

Er country fairs ; but there's much more fun, 

'Cause every night sees the hull town go 

To the Palace movin' picture show. 

Sure the old town's changed sence the movies come. 

'Lectricity now — that's goin' some ! 

Got the streets marked out, and the women they 

Dress in style like the folks in the play. 

Got a public square like the one we seen 

In a movie piece, right on the screen. 

Oh, the mayor an' councilmen they ain't slow ! 

Study civic reform at the picture show! 

Harold Seton. 


Pretty Pigtails 

These modern maidens can be gracefully old-fashioned in their 

borrowed tresses, but still there is no hint of a Maud Muller in 

the eyes of any of them. 

Loretta Young, left, was the 
patiently waiting fnna, a farm 
girl de luxe, in "The Squall.'' 
and of course her lover's drill- 
ing heart was won back. 

Norma Shearer, above, poses 
as one of those rare lasses 
who wears heavy tresses and 
-till believes daisies won't tell. 

Braided and costumed for 
Evangeline, Dolores del Rio, 
below, look- as if she might 
have just come out of Acadia. 

Louise Fazcnda, 
left, in "Noah's 
Ark," is as much 
herself in pigtails 
and wooden shoes 
as in frizzled bob 
and sports sandals. 



Continued from page 74 

Victor, beaming with pride, brought 
out three photographs — of Andrew, 
of Mrs. McLaglen, and of Sheila. 
Three hand-tinted photographs in 
heavy, carved frames that must have 
added considerably to the difficulty 
of packing. But there they were, ac- 
companying the proud pater-familias 
on his travels, the first thing to be 
unpacked in his hotel room. 

Andrew, the nine-year-old boy, is 
a manly youngster, with sweet, brown 
eyes. Dark, and so good looking 
you surmised at once that he resem- 
bles his mother, rather than his fa- 
mous father. 

The surmise proved at once to be 
correct. "This is my wife," said Vic- 
tor, beaming. "She's the daughter 
of a British admiral." 

And Victor had reason to beam. 
If there's anything to that old theory 
that beautiful women marry homely 
men, here was example number one ! 
Mrs. McLaglen is beautiful and 
charming enough to be a star herself. 

"And this is Sheila," said Victor. 

Well, you've seen those precious 
five-year-olds whom you want to hug 
at sight? Sheila's one of them. 
Blonde, blue-eyed, another beauty 
like her mother. 

"Tell me about Sheila." 

"Oh, Sheila's a regular, little 
woman," said the proud parent, "with 

He's a Soft-Boiled Egg 

dozens of dolls that she mothers. 
And I had a little house built just 
for her." 

"A doll's house?" 

"Oh, no, a real house outside our 
own. A stucco house, with a red- 
tiled roof. Big enough so that I can 
stand in it by stooping a little. It's 
a complete house, just as completely 
equipped as the one we live in our- 
selves, only smaller, of course. It 
has four rooms — sitting room, 
kitchen, bedroom, and bath. It has 
a real telephone, and Sheila just loves 
to phone in grown-up fashion to all 
her little friends. She carries on 
long conversations with Faith, Clive 
Brook's little girl. 

"She turns on her radio whenever 
she wants music, or plays a record 
on her own little phonograph. And 
she's the busiest, little housewife you 
ever saw, going around with a dust 
cloth ; everything in the house is 
simply spotless. She cleans it all by 

"And you should see the way 
Sheila can cook. She has a little 
electric stove, and she gets batter 
from the cook and makes muffins, 
or hamburger steak which she fries. 
Sometimes I go in and have lunch 
with her, and she serves it with all 
the skill and aplomb in the world. 

"She takes her housekeeping very 

seriously. When I ring her door- 
bell, she doesn't allow me to say, 'Is 
Sheila there?' Oh, no, indeed. In 
her house she's not Sheila. She's the 
madame. I must say, 'Is Mrs. Mc- 
Laglen in?' 

"So Sheila smiles like a regular 
hostess and says, 'Do come in. Won't 
you have a chair?' And the other 
day she said, very politely, 'Will you 
excuse me just a moment? I'm very 
busy just now.' And off she dashed 
to look at her meat cooking in the 

"You can see how I'm trying + o 
bring up Sheila. Already she's com- 
pletely sure of herself as mistr; js of 
the house. Even at the age of fiv 
she has learned to be a gracious r 
tess. And of course it is teacl 
her how to run a house — how to ccok, 
if she ever has to cook. She'll grow 
up to be a completely competent 

An intelligent father? Well, 
rather ! A man of the world, who 
speaks, literally, the king's English. 
The son of an Episcopal bishop — 
"Though you'd never know it to 
look at me," said Victor. 

Rather a different picture, isn't it, 
from the roughneck star of Fox 
films? From the man who got his 
professional start by boxing. 
Continued on page 111 

Continued from page 3 
sation of Europe is Anna May Wong. 
She is a big hit in pictures all over 
the Continent, but her social triumphs 
almost top her professional ones. 

"Anna May has become as inevi- 
table a guest at all big functions as 
Fanny Ward and the Dolly sisters. 
She is pointed out to all tourists as 
one of the sights not to be missed. 
In fact, it wouldn't surprise me to 
find her in the next edition of Bae- 
deker. If you know your Europe, 
you say 'As rare as a night when 
Anna May dines at home.' 

"I am awfully glad," Fanny went 
on earnestly. "It always seemed to 
me that Anna May didn't get half the 
breaks she deserved in Hollywood. 
Many a time I have seen her trying 
to swallow her disappointment at not 
getting a role. . She was a problem 
for the casting directors." 

"But why?" I asked. Anna May 
always gave capable performances. 

"Well," Fanny explained, "she just 
didn't fit into their cut-and-dried 
ideas of what a Chinese girl should 
be like — and you know how casting 
directors run to types rather than to 
ability. Anna May was too poised 
and gracious and she looked too chic. 
I remember when she was tested for 

Over the Teacups 

the part of a half-caste and was 
turned down. They said she didn't 
look foreign enough. So they took 
an American girl — shall we be gen- 
erous and say of the peasant class? 
— and made her up to look more 
Chinese than any Chinese girl ever 

"Anna May wanted to come home 
for a visit between pictures. She 
tried to book passage on the Graf 
Zeppelin, but couldn't induce any one 
to part with his reservation. She was 
a good sport about her disappoint- 
ment, though. She gave a big lunch- 
eon for all the passengers just before 
the airship took off. 

"Douglas Fairbanks and Mary 
Pickford are sailing soon for a vaca- 
tion in Europe. Douglas Fairbanks 
will be pleased at Anna May's suc- 
cess in Europe. He is one of the 
few producers in Hollywood who 
ever gave her a good role." 

Fanny's preoccupation with Europe 
was ominous. Remembering how, 
unwarned, she had whisked me off 
from Hollywood to New York, I 
began to grow apprehensive. 

"Gertrude Lawrence finished 'The 
Battle of Paris' at the Paramount 
studio the other day and rushed off to 

a play in London. The parting was 
nothing short of tragic. Every one 
in the studio simply adores her." 

Hastily I tried to think of some- 
thing to distract Fanny's mind from 
sailings. A moment later I was re- 

"They will all be coming back soon, 
though. Miss Lawrence is to do 
'Candle Light' on Broadway, and an- 
other picture for Paramount, so we 
shall have her with us again. 

"And who do you suppose is in 
town?" she asked brightly, and I 
knew from the hurried way that she 
started gathering up her belongings, 
that she was about to rush me off to 
see one of her super-special favor- 

"Estelle Taylor!" she announced 
with enthusiasm. "She is rehearsing 
a sketch for vaudeville. We'd better 
rush right over to her hotel now. 
Once she gets started on tour, she 
will be as lost to her friends as though 
she were exploring darkest Africa." 

But with Leatrice Joy, Mae Busch, 
Doris Kenyon, Irene Rich, and any 
number of others touring in vaude- 
ville, their routes must cross some- 
times. And what homesick Holly- 
wood reunions there must be then ! 


All, All Is Vanity 

And to prove it, these stars show the more or less ingenious 
places where they conceal their lipsticks rather than be caught 

without one. 

Joan Craw ford, right, seems 
proud of a rather deadly-look- 
ing lube which apparently 
contains all a lady's needs — 
though if you ask us ! 

Carmel Myers, above, has what she 

calls a sanitary lipstick to imitate a 

match and be discarded after one 

application of carmine. 

Fay Webb, below, is one of 
those girls who loves her lit- 
tle joke, for when timid souls 
swoon at the sight of a dagger 
thrust in her stocking, she 
restores them with the infor- 
mation that it is just a per- 
fume vial ! 

Sally O'Neil, above, looks 
heavenward as she snaps open 
a woolly puppy and discloses 
in its tummy all the neces- 
saries of a perfect lady. 

Marcclinc Day, left, ever girly girly, 

points to her lipstick carried, for 
some esoteric reason, in the heart of 
a satin flower on her shoulder. Now 
you know what a strain it is to be an 


Continued from page 65 
There's much more to the proceed- 
ings than this, and many more char- 
acters than those mentioned. As a 
side issue of this tawdry plot we 
hear a lot of talk about the decaying 
condition of English society, with ac- 
tive evidence to prove it. Besides 
Miss Shearer, who does well — re- 
markably well — the cast includes fa- 
miliars like Hedda Hopper, George 
K. Arthur, and Maude Turner Gor- 
don. The others — George Barraud, 
Herbert Bunston, Moon Carroll, Cy- 
ril Chadwick, and Madeline Seymour 
— are from the stage. 

Murder Mystery De Luxe. 

My first enthusiasm for "The 
Greene Murder Case" is lessened by 
what has been told me by those who 
have read. the book. Before being 
somewhat disillusioned by the changes 
made in the story, I thought the pic- 
ture just about the finest mystery 
story I had ever seen. For that mat- 
ter I still do, notwithstanding the dis- 
parity between novel and film, and I 
shall tell you why, hoping that you 
too will enjoy the picture as I did 
in happy ignorance. 

Again William Powell is Philo 
Vance, the dilettant detective, as in 
"The Canary Murder," but with this 
difference. He is the center of a far 
more engrossing plot, his lines are 
better and his acting therefore gains 
in authority, restraint, and incisive- 
ness. Magnificent actor always, he, 
like all others, adds to his stature 
when he has good material. And 
that he most assuredly has in Philo 
Vance's latest exploit. 

He is called in to solve mysterious 
deaths in the Greene family. First, 
the elder son of old Mrs. Greene, con- 
fined to her bed by paralysis, then 
the younger comes to a violent end, 
followed by the sudden demise of 
Mrs. Greene herself, leaving her two 
daughters to share the enormous for- 
tune which all the family would have 
enjoyed in a few years. Well, I was 
never more surprised in my life than 
by Philo' s unraveling, thread by 
thread, as well as by the denouement. 
But you won't get so much as a syl- 
lable of a clew from me ! 

Enough to say that every one gives 
a fine performance, and that the pro- 
duction too is really noteworthy, be- 
cause here are no self-conscious ef- 
forts on the part of the director to 
overlay the proceedings with horror 
and mystery. The whole story is told 
simply, directly, almost casually- 
Principal players are Florence El- 
dridge, Ullrich Haupt, Jean Arthur, 
Eugene Pallette, and Morgan Farley. 

Never the Twain Shall Meet. 
If you know the story of "Evan- 
geline" — and who doesn't? — you will 

The Screen in ReVieW 

not go to see it expecting to be 
thrilled to the marrow and your 
blood to be chilled. This is men- 
tioned at the outset in citing an ex- 
quisitely beautiful picture for hon- 
orable mention, because its tranquil- 
lity, even lethargy, are its only faults. 
Yet they are not that, because this 
quality is inherent to the original, and 
a faithful transcription of the poem 
could yield nothing else. Besides, to 
some of us the thrill of pure pictorial 
beauty is often more moving than 
self-conscious dramatics. There are 
none of the latter in "Evangeline," 
but moments of poignant emotion and 
mile after mile of breath-taking 
scenic beauty, so carefully composed 
as to remind us once more that Na- 
ture is the eternal artist and man her 
occasional imitator. 

Perhaps the most striking episode 
that does not depend on background 
so much as direction, is the expulsion 
of the simple Acadians by British 
troops. Families are separated, ba- 
bies torn from their mothers, old men 
are beaten and left to die, and Evan- 
geline and Gabriel are parted, never 
to meet again until he is dying and 
she comes upon him, an aged sister 
of mercy. The interval, covering 
many years, shows her search for 
him through the length and breadth 
of the land. 

Evangeline is, in my opinion, Do- 
lores del Rio's finest performance 
since "Resurrection." It is beauti- 
fully sincere and infinitely pathetic. 
Her singing is haunting, her voice 
flexible and sweet, and her transfor- 
mation into an aged, bent sister in 
the last episode is admirably devoid 
of histrionics. Roland Drew, as 
Gabriel, is not sufficiently romantic in 
appearance or manner to suit my 
taste, but Donald Reed, in the lesser 
role of Baptiste, is. 

Ireland As It Isn't. 
You won't find a more piquant and 
charming star in the talkies than Col- 
leen Moore, in "Smiling Irish Eyes," 
her first experiment with dialogue. 
She is wholly delightful in song and 
speech. But lest you think that all is 
peaches and cream, I must heed my 
conscience and tell you that the pic- 
ture is far, far below the gift; Miss 
Moore brings to it. In fact, it's 
rather dreadful in its commonplace- 
ness, its self-conscious quaintness and 
its falsely sentimental representation 
of Ireland, all reminding one of a 
medley of old-time plays such as 
Chauncey Olcott, Andrew Mack, and 
Fiske O'Hara used to sing through. 
However, the fact remains that Miss 
Moore has carried many a weak pic- 
ture in silence, and there is nothing 
to indicate that her valiant efforts 
will go for naught in putting this one 

over, however the judicious may 
grieve for her burden. 

You see, it's all about little Kath- 
leen O'Connor, who believes in fair- 
ies, wishing wells and such, and her 
sweetheart, Rory O'More, a fiddler. 
After this, that and the other thing 
happens to spin out their childish ro- 
mance and saturate the screen with 
Irish atmosphere, Rory goes to New 
York to make his fortune. Into the 
toils of a show girl he falls and is 
helped by her to sell his song, "Smil- 
ing Irish Eyes." Whereupon Kath- 
leen, piqued by his silence, sails across 
the seas to find him, only to return 
to Ireland and find a stack of accu- 
mulated letters. Nothing does but 
that she must again set sail, this time 
finding her way backstage with no 
difficulty at all and jumping to the 
conclusion that Rory is faithless. As 
casually ?s vou please, she returns to 
her thatched cottage and the wishing 
well and there Rory, rich and suc- 
cessful, finds her. 

There is more transatlantic travel 
in this picture than ever I saw be- 
fore, with nary a word about the cost 
of all poor Kathleen's running back, 
and forth. But I don't think any 
purser would begrudge so engaging a 
girl as Kathleen a trip on the finest 
ship afloat, for she'd be invaluable as 
an entertainer of jaded passengers. 

James Hall, as Rory, has a good 
voice and a fatuous role, and the long 
cast reveals such stand-bys as Aggie 
Herring, Claude Gillingwater, Betty 
Francisco, Julanne Johnston, and 
Tom O'Brien. 

Mr. Jolson Never Disappoints. 

"Say It With Songs" is Al Jol- 
son 's new picture and there is plenty 
of both Mr. Jolson and his singing. 
I should say about a million dollars' 
worth, if we may estimate it by the 
success of "The Singing Fool." 

The new picture is cut from the 
same pattern, which is to say that an 
ordinary plot has been cued to permit 
the star to sing of the subjects dear- 
est to his heart — and in the oddest 
places. One of his solos is rendered 
on Brooklyn Bridge, startling in its 
complete absence of traffic. But this 
serves a good purpose, for it mirac- 
ulously enables his son, Little Pal. 
to speak again after he has been 
paralyzed. How this is accomplished 
remains a mystery, except that Mr. 
Jolson appears to visit the child in 
double exposure and leaves behind 
some of his vocal vigor. 

These unusual occurrences begin 
where Mr. Jolson, as Joe Lane, a ra- 
dio singer, is told by his wife that the 
manager of the broadcasting station 
has asked her to invite him to dinner. 
The invitation is to be extended if 
Continued on page 98 


In Loving Memory 

The stars keep photographs of their friends — and them- 
selves — to remind them that admiration and affections 
are ties that bind. 

Marian Nixon, above, keeps the photo 

framers busy adding treasures to her walls. 

See if you can discern familiar faces. Isn't 

that Ben Lyon, upper left? 

John Barrymore, 
right, finds him- 
self in the besl 
of c o m p a n y — 
numerous photo- 
graphs of himself 
in memorable 
roles, as well as 
the armor he- 
wore as Richard 
III on the stage. 

" nr?-^ -?e i 

George Lewis, left, lovingly hangs on 
his wall a Japanese poster of himself 
in the "Collegian" series, this treasure 
being flanked by a photograph of him- 
self already there. 

Alice Day, below, at home with her 
photographs and a few magazines, the 
former reminding her of friends tried 
and true, and the latter to be scanned 
hopefully for reminders of herself. 

Ailecn Pringle, left, 
contemplates the sun- 
light from the window 
of her writing room. 
its walls decorated 
with old Chinese prints 
and a few not old 
American gentlemen. 

98 _ 

Continued from page 96 
tlicre is any hope for the manager's 
willingness to help Joe along if his 
wife will — yes, aren't men beasts? It 
seemed to me particularly dumb of 
the wife to have told, but if she 
hadn't there would have been no suf- 
fering and sorrow for anybody. So 
Joe calls the manager a rat and kills 
him. For this he is sent to prison, 
where he cheers his fellow convicts 
with song, and broadcasts as well. 
On his release he visits Little Pal in 
school, and in following his father 
the boy is swept down by a truck. 
The doctor whom Joe consults is in 
love with Joe's wife and his fee is 
$5,000 for a life-saving operation, 
but this will be waived if Joe will 
relinquish the child. So it's just one 
agony after another for poor Joe, but 
as intimated above, everything comes 
out all right. 

Mr. Jolson sings at least seven 
songs, Davey Lee repeats the per- 
formance so many like, and Marian 
Nixon nicely plays the faithful, 
though tactless, wife. 

Rod La Rocque Speaks. 

The talkie debut of Rod La Rocque 
takes place in "The Man and the Mo- 
ment," opposite beautiful Billie, the 
dulcet Dove — and he comes through 
splendidly. I say this because his 
voice records exactly as it does in 
conversation, and because he has a 
role which displays his whimsical 
banter and that humor which is so 
much a part of his real self. Miss 
Dove, in a role less hysterical than 
in "Careers," is also nice, but it is 
Mr. La Rocque who evokes the most 
audible response from audiences, be- 
cause he makes them laugh. 

The picture is unimportant, but it 
is as diverting as one of those glossy 
society films, with a whipped-cream 
filling, could be. Michael, a gay phi- 
landerer, and Joan, a sheltered snow- 
drop, marry ; he to extricate himself 
from a liaison, she to escape the cho- 
ler of a guardian. But of course 
Michael's lady friend is not so easily 
shed. She seeks to ruin Joan's repu- 
tation, but Michael somehow saves it 
by smashing a glass tank in which 
high society is disporting in an under- 
seas ball a la DeMille. There you 
have it. Besides the stars, there is 
Gwen Lee. 

Made in Germany. 
Three European favorites appear 
in a German silent picture called 
"Hungarian Rhapsody." They are 
Dita Parlo, Lil Dagover, and Willy 
Fritsch, who became an American 
favorite in "The Last Waltz." Play- 
ers and picture are well worth see- 
ing, if you care for a smoothly di- 
rected, carefully acted, and skillfully 
photographed film of unvarying 

The Screen in ReVieW 

charm rather than wrenching mo- 
ments. Backgrounds of waving 
wheatfields are beautiful, as well as 
moonlight dappling the lovers in their 
trysting place under the trees ; and 
the prayer of thanksgiving for the 
harvest is strangely moving. 

The story is that of a dashing offi- 
cer too poor to marry the girl he 
loves, and too proud of his uniform 
to give it up and go to work. He is 
drawn into a dangerous flirtation with 
the wife of the resident baron, and 
when they are in peril of discovery 
his sweetheart saves them at the ex- 
pense of her own reputation. This 
brings about the officer's awakening 
to the true worth of the girl, as well 
as the worthlessness of an idle life. 
All this has a quality, a feeling, all 
its own. I hope I have communi- 
cated enough to send you to see it. 

More In Sorrow Than Anger. 

"Fast Life" is the sort of picture 
that gives most critics acute pain, 
and the kind that producers excuse 
by saying to us, "Poor fish, it's what 
the public wants." 

But that doesn't excuse it at all, 
for if it pleased some one to bring 
it to the screen, the shallow, theatric 
story and the bombastic acting could 
have been toned down and the whole 
disguised by good taste and restraint. 
As it is, "Fast Life" is a distressing 
exhibition of actors allowed to rant at 
will. I say allowed, because Chester 
Morris and John St. Polis have ac- 
quitted themselves brilliantly in talk- 
ies, the former in "Alibi" and the 
latter as Mary Pickford's father in 
"Coquette." But you would never 
guess it from their actions and ut- 
terances in the new film. So we 
must hold it against the director for 
giving them a free hand. 

Mr. Morris is Paul Palmer, the 
governor's son, whose friend, Doug- 
las Stratton, is about to be electro- 
cuted for a murder Paul committed. 
Which means that we must pay the 
penalty by watching all the old, fa- 
miliar scenes — the pleas to the gov- 
ernor, the singing prisoners, the long- 
drawn-out march to the chair, from 
which, incidentally, the prisoner es- 
capes without explanation. But this 
is merely to prolong the agonized 
contortions of Mr. Morris as he strug- 
gles against the temptation to "tell 
all," and thus ruin bis father's po- 
litical chances at the cost of his 
friend's liberation and his own life. 

Now, this is a melodramatic situa- 
tion of the kind known as strong, 
and it might have conveyed the full 
intent had the director forgotten the 
antiquated theater and been decently 
generous with his use of the soft 
pedal. But the writhing of Mr. Mor- 
ris, his grimaces and contortions con- 

veyed nothing to me except envy of 
an actor having a sweatingly good 
time tussling with a hammy scene. 

There is a lot more to the picture 
than this, but I found the events that 
led up to Mr. Morris' selfish pleasure 
equally shallow. Douglas Fairbanks, 
Jr., not at his best, is the falsely ac- 
cused murderer, and Loretta Young, 
as his wife, is appealing, but the in- 
nuendoes cast upon her relationship 
to her husband aren't pleasant. 

Starving in Silk. 
"Street Girl" bored me intensely, 
but I heard others laughing with glee, 
so you can join them, or sustain me 
in my task of trying to tell you what 
the picture is about. There really is 
no effort attached to that. So far as 
plot goes, there is almost none. Noth- 
ing at all to cause even a backward 
child to ask who's who, or what's 
what. But there is an effort neces- 
sary for me to remember the least 
entertainment in it. So bear with me. 
It seems that a dear, little girlie 
named Freddy is starving on the 
streets of New York in silk stockings, 
plump chin, heavy make-up, and a 
permanent wave. She is encountered 
by a young musician in a jazz band, 
who takes her to the room he shares 
with three companions and persuades 
her to remain by the simple expedi- 
ent of curtaining off a corner with a 
sheet. Whereupon Freddy becomes 
the little mother of the quartet whom 
she quaintly nicknames "Spring," 
"Summer," "Fall," and "Winter." 
She cooks, presses their clothes and 
manages their careers. Though 
homeless, penniless, and all else the 
night before, she goes to a swell res- 
taurant managed by an old friend 
and persuades him to employ the 
quartet at a large salary. She her- 
self performs, too, cutely playing the 
violin as she sways from table to 
table. Then the prince of the mythi- 
cal kingdom of which she is a na- 
tive arrives, and his fervor on recog- 
nizing Freddy as a subject causes 
him to kiss her on the forehead. So 
the young musician becomes jealous 
and— did you put me on the witness 
stand I could remember no more. 
It's all a blur of singing, dancing, 
wise-cracking, and so forth. But, as 
I said, people did laugh — perhaps 
from enjoyment, perhaps not. ' 

Betty Compson, as Freddy, is not 
at her happiest in a sugary role, but 
Jack Oakie, as one of the jazz boys, 
i.5 as good as his lines permit. John 
Harron, Ned Sparks, and Guy Buc- 
cola are the other "boys," this prob- 
ably being the first time Mr. Sparks 
has been so denominated in the last 
quarter century. Ivan Lebedeff is 
le Prince. 


Skades of Terror 

How would you like to be placed in such dire situa- 
tions as these scenes suggest? 

Louise Closser Hale and 
David Newell, above, in 
"The Hole in the Wall,' 
are terrified of the name- 
less kidnapers of Miss 
Hale's grandchild in the 

Jean Arthur, right, 
in "The Greene 
Murder Case," has 
lots and lots to be 
afraid of, com- 
pared to which the 
shadow of a knife 
is nothing, as you 
know if you saw 
this stirring film. 

Do you remember this 
scene from "The 
Haunted House," left, 
in which every one was 
on edge during the 
eerie goings on in the 
ghostly mansion? 

Carol Lombard, below, 
has good cause to be 
nervous of shadowy 
handcuffs in "High 

Fredric March, left, in 
"The Studio Murder 
Mystery," plays the role 
of an actor who is mys- 
teriously murdered in 
the course of filming a 
movie, and as he has a 
great deal on his con- 
science, you can't won- 
der that he's nervous of 


Continued from page 53 
directed in the heyday of his career 
as a silent-feature genius — a magnum 
opus, so to speak. 

Plans were announced recently 
at a luncheon given for a group of 
newspaper men, and had a certain 
awesome character. Joseph M. 
Schenck, executive head of United 
Artists, presided. To enliven the 
proceedings there were songs by 
Harry Richman, the night-club star. 

Griffith himself told with emotion, 
most genuine and sincere, of his in- 
tention to relate a human and tender 
story of the great president, and one 
could not fail to be impressed by his 
deep sympathy with the subject. 
Griffith has wanted to do this picture 
for ten or twelve years. Prior to 
that, he had once touched on the idea 
in "The Birth of a Nation," the as- 
sassination of Lincoln being a sig- 
nificant climax in that historic event. 

Mr. Schenck remarked that in re- 
cent years the Griffith efforts had 
been confined to smaller productions, 
and that he was not fulfilling the de- 
sire of the public that admires his 
greater achievements. 

"Mr. Griffith's most outstanding 
pictures have always spelled some- 
thing more than mere entertain- 
ment," he said. "They are the kind 
of pictures that are not and cannot 
be forgotten. He has been the leader 
in the past, and it is only proper that 
he should continue to occupy a posi- 
tion of preeminence in the future. 
The picturegoer expects much more 
of him than the ordinary director, and 
we feel that he should have oppor- 
tunity to make exceptional pictures." 

Confidence seems strongly felt in 
Hollywood that the older and more 
experienced directors will forge ahead 
in the talkies, not only because of 
their experience in the studios, but 
because a majority of them have a 
knowledge of the theater as well. 

Old Styles Must Go! 

Something is going to happen to 
the formal dress of men in Holly- 
wood. It's in the air. The tuxedo 
and the full-dress coat are beginning 
to pall upon the well-attired heroes of 
pictures when they are socially ac- 
tive. A 'hot summer in Southern 
California, with wilting collars and 
shirts, has led to an open advocacy 
of the change, and surprising as it 
may seem, Basil Rathbone and Ivan 
Lebedeff, two of the strictest adher- 
ents to Prince of Wales styles, are 
among the leaders in the proposal. 

An agreement is being reached by 
these actors and an associated group 
for the discarding of conventional 
garb for the white Eton, or pea 
jacket, at dinner dances. This jacket 
is like a full-dress coat, sans tails, 

Hollywood Higk Ligkts 

and if adopted will cause an upheaval 
in movieland traditidns. Also, like 
the toreador trousers of some years 
ago, it probably will be adopted by 
ail the young sheiks, with results both 
grotesque and amusing. 

This garb is not altogether unfa- 
miliar at summer dances in the East, 
but thus far has not penetrated the 

Immortalized in Song. 

Still very much in the air is the 
romance of Harry Richman and Clara 
Bow. They agree and disagree at 
regular intervals, and frequently have 
something to say about each other in 
the newspapers. They are a pleas- 
antly frank pair, and if it is true that 
the course of true love never runs 
slickly, then theirs is sure to be a 

One of Clara's latest announce- 
ments is that she will go to Europe, 
and that Richman probably will meet 
her there. Also she avers, with great 
seriousness, that she is likely to re- 
tire from the screen on marrying. 
The trend of her theories is the usual 
one that a wife cannot be a wife and 
have a career. 

Richman is evidently devoted, for 
one of the songs that he warbles 
these days mentions Clara's name. 
The song is called "Ga-ga," and one 
of the lines indicates that the singer 
has gone so "ga-ga" that he is "being 
a child and playing with mud pies." 
Now make of that what you will. 

At that, it is an amusing and rather 
clever number. 

Lillian, the Perplexing. 

Will Lillian Gish return to the 
screen — and when ? Puzzlement seems 
to surround the continuation of her 
career. The Reinhardt picture she 
was to have starred in is long since 
forgotten, and she herself has been 
absent in Europe for the summer. 

The latest talk is that she may do 
"The Swan," once produced by Para- 
mount, with Frances Goldwyn, then 
Frances Howard, in the stellar role. 
The story is ideal for Miss Gish, and 
should be better in a talkie than a 
silent version. 

Now the question is, How will her 
voice record? Studio opinion seems 

Heir to Gloria Role. 
Ruth Chatterton is nothing if not 
an inheritor of great dramatic roles. 
In "Madame X" she was elected to 
do a character that Pauline Frederick 
once imbued with glamour on the 
screen, and in "Charming Sinners" 
she assumed a part for which Ethel 
Barrymore gained attention on the 

Now, if nothing happens to dis- 
turb present plans, she will be seen 
in "Zaza," in which Gloria Swanson 
acquired honors on the silent screen. 
Strangely enough, there seems some 
rivalry for this particular picture, be- 
cause Clara Bow has also been men- 
tioned as its star. Our surmise is 
that Miss Chatterton will play it. 

Specters Rise Again. 

Even from the musty archives are 
films being resurrected for the inter- 
polation of talkie sequences. That's 
a new wrinkle, incidentally — musty 
archives and wrinkles going nicely 

One of the first to be provided 
with dialogue is "The Phantom of 
the Opera." 

Lon Chaney will remain a silent 
character, but Mary Philbin and Nor- 
man Kerry will speak. Chaney not 
only has thus far declined to become 
audible, but he is under contract to 
Metro-Goldwyn. "The Phantom of 
the Opera" is a Universal film. 

War and Reprisals. 

A rift almost loomed in the long- 
time friendship of Norma Talmadge 
and Fannie Brice, when the latter was 
refused permission to enter the stage 
where Norma was working. The 
gateman chose to keep her out, be- 
cause he said he had instructions to 
"admit absolutely no one." 

"All right, then, you tell Norma 
that she can't come over on my set, 
either," exclaimed Fannie with (per- 
haps) mock pepperiness, and went 
away. Very shortly a messenger ar- 
rived from Miss Talmadge's stage, 
urging Miss Brice to return immedi- 

The two stars joked about it after- 

The Shifting Gang. 

In the words of a studio wit, a 
large vacancy occurred in Our Gang 
when Joe Cobb left to free lance. 
Joe is the stout boy who has been 
with the comedy youngsters for six 
or seven years. Very often he has 
been their leading actor. However, 
Joe felt that the far field looked 
greener, particularly as a rival had 
come into, the lists, namely Norman 
"Chubby" Chaney. Chubby is nine 
years old, sends the scales up to 106, 
and is just a trifle less than four feet 

Farina, who is the senior member 
of the company, was signed again 
about the same time that Cobb with- 
drew. It is felt that Farina's vocal 
powers will guarantee his success. 


It's A Fad 

That's the only way to explain the decorations 
which appear on the sweaters of these charmers. 

Kathryn Crawford, left, 
{joes in heavily for cari- 
catures of the comic-strip 

While Carol Lombard, 
right, is popular with sen- 
timentally inclined gentle- 

v y \ 



Mary Philbin, center, wears her souvenirs 
sweetly, coyly, hopeful of more. 

Joan Crawford, lower left, points proudly to her 
smallest decoration, '"Dodo" Fairbanks' bleeding 

Sally Eilers, below, smiles in spite of 

somebody's reminder of the terrifying 

microphone, though Sally isn't terrified 

at all. 









Information, Please 

A department where questions are answered, advice is given, 
and many interesting phases of motion-picture 
making and pertinent side lights on the lives and 
interests of motion-picture players are 

Bj> The Picture Oracle 




pens in depths? Are you crazy then, 
too? So I'm a "wiz" if I live through 
your questions? If living through ques- 
tions made me a wizard, I'd be pulling 
rabbits out of hats by this time. Mary 
Astor is five feet six and weighs about 
120. Mary Nolan, five feet six ; weight 
112. Gwen Lee, five feet seven; weight 
135. Charles King, five feet eleven, weight 
160. Lilyan Tashman, five feet five, 
weight 112. Dorothy Mackaill a half inch 
shorter, weight 115. Eddie Nugent doesn't 
give his height in his biography ; I haven't 
Armida's description. As for Anita Page, 
her official height is given as five feet two 
and weight 118, and who am I to dispute 
a lady's word? 

Donald Beaver. — As to why Charlie 
Chaplin doesn't like the talkies, my guess 
is that it's because he's not a talkative per- 
son. Louise Fazenda was born in La- 
fayette, Indiana, June 17, 1895. She has 
hazel eyes and weighs 135. Her next 
film is "Hard to Get." Pauline Freder- 
ick's new pictures are "Evidence" and 
"The Sacred Flame," both Vitaphone 
dramas. No, Esther Ralston hasn't left 
the screen; her latest film was opposite 
George Bancroft in "The Mighty." Eileen 
Sedgwick _ is working in a serial called 
"The Vanishing Westerner." 

Eloise Spaid.— Well, I'd -rather be 
"pounced on" with questions than with a 
pitchfork. The Mary Brian club has 
headquarters with Clara Fochi, 53 Villa 
Avenue, Yonkers, New York. Clara Bow 
clubs are as follows : Romolus Gooding, 
93 Broad Street, New Berne, North Caro- 
lina; Louise C. Hinz, 2456 Sheridan Ave- 
nue, Detroit, Michigan ; Ida Katz, School 
No. 80, Federal and Eden Streets, Balti- 
more. As for all those "sister teams" you 
ask about, they are rather obscure stage 
dancers engaged to perform in a picture, 
and I have no addresses for them. 

A. K. — Anita Page's height is giving me 
lots of trouble. Her biography gives it as 
five feet two, but she certainly looks many 
inches taller than that. Ramon Novarro 
was born February 6, 1899. He is five 
feet ten. Music is very much his hobby ! 
I understand his new contract calls for 
six months of film work and six months 
on the concert or opera stage. I think 

Dorothy Janis did her own singing in 
"The Pagan." Yes, George Webb was 
married before he wedded Esther Ralston. 
Any one may belong to a fan club just by 
writing to the person in charge. The pur- 
pose of these clubs is to enable fans of 
the various stars to get together by cor- 
respondence. Esther Ralston's club has 
headquarters with Mabel Hill, 1250 South 
Normal Street, Chico, California. 

Margot Watson. — A worshiper at the 
shrine of Joseph Schildkraut ! Well, he's 
working quite hard these days. You have 
probably seen him 'by now in "Show 
Boat," with Laura La Plante. The names 
of pictures which he is to make are, at 
present, "Mississippi Gambler," "Bachelor 
Husband," "Man About Town," and "The 
Melting Pot," leading ladies not yet an- 
nounced. Of course all these titles may 
be changed before the films are released. 

J. B. — Yes, the talkies have given Ruth 
Chatterton a fine opportunity. Of course 
you know she was well known on the 
stage before she began her movie work. 
She was born in New York City, but 
doesn't say when. She is five feet and 
weighs 110. Her picture, following 
"Madame X," was "Charming Sinners" 
and her next will 'be "Sarah and Son." 

B. L.— See J. B. above. Ruth Chatter- 
ton also played in "The Doctor's Secret," 
"Sins of the Fathers," and "The Dummy." 
Nancy Carroll was born November 19, 
1906. Five feet three; weight 116. Anita 
Page's next films are "The Gob" and 
"Speedway," both with William Haines. 

Cleo Haines. — So these questions have 
bothered you for a long time? Never let 
a question bother you; there are too many 
other bothers in the world. David Rol- 
lins has two fan clubs, both in Pennsyl- 
vania. One is with Bella Jaffe, 1110 Bush- 
kill Street, Easton, and the other with 
John Allen, 230 Pine Avenue, McKeesport. 
I don't know whether he flew the airplane 
'himself in "The Air Circus." His new 
pictures are "Why Leave Home?" — a 
musical film version of "Cradle Snatch- 
ers" — and "Meal Ticket." Arthur Lake 
was born in Corbin, Kentucky, in 1905. 
He is six feet tall. Richard Arlen was 
born in Charlottesville, Virginia, Septem- 
ber 1, 1899; James Hall in Dallas, Texas, 
October 22, 1900. Warner Baxter was 

born March 29, 1892. Baclanova is five 
feet four and weighs 123. Mary Brian is 
twenty-one, June Collyer twenty-two. 
June's real name is Dorothea Heermance. 
The nearest stellar birthdays to March 7th 
are Lois Moran's on the first, and Dorothy 
Gish's on the eleventh. 

D. E. M. — I don't usually answer ques- 
tions about star's religion, but in the case 
of Buddy Rogers I don't mind admitting 
that the report that he is Jewish is based 
on his playing in "Abie's Irish Rose." 
That's Charles Rogers' real name. "Lady 
of the Night" was released in February, 
1925. Norma Shearer's supporting cast 
included Malcolm McGregor, George K. 
Arthur, Dale Fuller, Fred Esmelton. 
Bebe Daniels still has one film not yet 
released by Paramount, "Number, Please." 
Edward'Nugent doesn't give his age. See 
A. K. 

E. L. D. — To join a fan club, just write 
to the person in charge and you will be 
sent a membership blank. William Bake- 
well was born in Los Angeles, May 2, 
1908. Write him in care of his publicity 
agent, Dave Epstein, Hollywood, Califor- 
nia. There is no William Bakewell club. 
I don't know what you can do about the 
unacknowledged quarters you sent for pho- 

Frances Harris. — Yes, indeed, I'll keep 
a record of your Dorothy Janis club, pro- 
vided you're not a little girl who'll get 
tired of it by the time the letters start 
coming in. Did Colleen Moore like the 
little verse you composed about her? Jetta 
Goudal's name is pronounced Jet-ta Gou- 
dal, accent on dal, short "a." I don't 
know why Gary Cooper should be called 
upstage; I've met him and he's rather 
quiet, but very friendly. No, Thomas 
Meighan hasn't quit the movies ; he's been 
making "The Argyle Case" for Warner 
Brothers. I believe Johnny Hines is to 
make "A Pair of Sixes" for Pathe. 

P. K. — Well, P. K. is very smart for 
girls' dresses this year, I believe. What 
a question box you turned out to be ! 
Maurice Chevalier was born in a suburb 
of Paris called Menilmontant, "less than 
forty years ago," according to his biog- 
raphy. He is not quite six feet tall, 
weighs 165, has brown hair and blue eyes. 

Continued on page 119 

Continued from page 13 
Honored By Joan. 

In July Picture Plav there was a let- 
ter signed B. F. U., Omaha, Nebraska. 
The caption of this letter was "Stamps 
Wasted on Joan." 

May I not say to B. F. U. that I think 
Joan Crawford is not the lea>£ bit high- 
hat, as B. F. U. will realize when he 
knows the truth. 

When I first wrote to Miss Crawford, 
requesting her photograph, I received no 
reply, although I had enclosed twenty- 
five cents. I wrote a second time, about 
three weeks after the first request, asking 
why I had not received the photograph, 
and still no reply. 

While awaiting an answer to my second 
letter, I thought I would try writing to 
Miss Crawford's home. I did, and was 
certainly surprised and pleasantly shocked 
to receive, about two weeks later, not only 
a small photograph, but a personal note as 
well. In the meantime I received a larger 
photograph from the studio, where I had 
first written. 

I don't know whether one has to have 
patience, or the ability to write the kind 
of letter that succeeds in getting an an- 
swer, but I certainly appreciate the fact 
that I have been lucky to get a personal 
reply from my favorite. 

Helen Haxrahax. 

174 Nagle Avenue, New York City. 

Rapping Kathryn Snyder. 

What I have in mind at present is the 
letter of Kathryn Snyder in which she 
expresses her hope that all foreign play- 
ers fail in pictures. My, my, what a 
loyal American! Vilma Banky can't act? 
The very idea is ridiculous ! And such 
beauty! None of the commonplace flap- 
per type that one sees every day, gum- 
chewing, whoopee-making, but an ex- 
ample of pure, womanly beauty that would 
have been an inspiration to artists had 
she lived a century or two ago. They 
would have made her immortal. 

Camilla Horn "an odd-looking for- 
eigner"? No personality? What does 
Miss Snyder consider beauty? The mas- 
cara-eyed, heavily rouged flapper? 

As for Greta Garbo, thank Heaven she 
is no empty-headed, doll- faced ingenue, 
but an actress. Could any one have sur- 
passed, or, for that matter, equalled her 
performance in "A Woman of Affairs"? 

And here's to Dolores del Rio ! She is 
not faultlessly beautiful, but she has more 
than beauty — a stamp of refinement, cul- 
ture, breeding, besides acting ability. 

Oh, I've almost forgotten Nils Asthcr, 
who, in my opinion, has no equal. Not 
only is he handsome and can act, but 
conveys to every one that he is the perfect 
gentleman so rarely found now, alas ! 

Should we shun foreign players? I dis- 
like to think of having nothing to see but 
pictures of the wild, jazz-mad and vulgar 
modern girl of fiction. I do not like to 
mention the players I have in mind ; I 
leave that to the imagination. And still 
I do not hope they fail. Let them go on 
and succeed, if they give amusement and 
enjoyment to some. 

If we ban foreign players, shall we also 
put a stop to opera, music by foreign 
composers, literature by foreign authors, 
poetry, painting, et cetera? Certainly, if 
we are to be one hundred per cent Ameri- 
can. Oh, I dread even to think # of it! 
Horrors, if I should be able to hear only 
jazz that reminds me of cannibalism, and 
see modern dance steps that trace their 

rigin to African jungles ! I can picture 
not a few real Americans packing their 
bags and baggage, off to Europe. For 

What tke Fans Tkink 

hasn't Europe basked in culture and 
knowledge, while America was inhabited 
by savages? Where would you be, Miss 
Snyder, if a foreigner had not discovered 

Marii.ynw Urban - . 
1043 North Damcn Avenue, 
Chicago, Illinois. 

To Arms For Gary! 
So Gary Cooper is high-hat! So says 
Fraser MfacDonald in August Picture 

Play. Some people believe everything 
they read. Where would every one be if 
they believed what others told them? It 
is always the same — as soon as an actor 
or an actress gains a little popularity, 
some one says something against them, 
and the consequence is that every one be- 
lieves it. 

I, for one, do not believe it. Just be- 
cause Gary is quiet and reserved does not 
mean he is high-hat. We like stars for 
what they are on the screen, not for what 
they are in private life. 

People who believe that he is high-hat 
are not sincere in their views. Never be- 
lieve anything until you have proof of it 
yoursel f . 

Gary has been my favorite ever since 
he made "The Legion of the Condemned" 
and I will always love him — even though 
some say he is high-hat — until he proves to 
me that he is. 

Mary Venables. 

504 Neville Street, 

Pittsburgh, Pennsylvania. 

Step Up, Mr. McKegg. 

In a recent issue. Picture Play's most 
brilliant writer contributed an article deal- 
ing with the treatment interviewers re- 
ceive at the hands of some of the players. 
Previous to this he had written other 
very interesting articles on unique sub- 
jects. Subjects not commonly dealt with, 
and for this reason, more interesting. 

I am referring to "Youth Is Trium- 
phant," "Carrying On," "Objects of 
Wrath," and "Whom Fortune Would De- 
stroy," all by that capable journalist, Wil- 
liam H. McKegg. These articles proved 
to be interesting variations from stereo- 
typed interviews and trite publicity tales. 
Let's hear from Mr. McKegg more often ! 

M. Logan. 

Royalton, Minnesota. 

Southern Generosity. 

For quite a long while I have been col- 
lecting photos of the stars, and at the pres- 
ent time I have 1,611, many of which are 
duplicates. Of course such a collection 
is ungainly, ^ind I have very nearly 500 
photos which I should like to give away 
to fans desiring them, if they will mention 
the actors in whom they are specially in- 
terested and enclose postage. 

Leonard E. Eury. 

Box 85, Bessemer City, North Carolina. 

That "Weary River" Double. 

I would like to register my first objec- 
tion to the otherwise splendid "talkies." 
Why have movie stars, and even stage 
stars, belittled themselves by allowing 
some unknown double to speak, sing, or 
entertain for them? Surely if their own 
abilities are such that they are not capable 
of carrying the role themselves, why have 
them do it at all? For instance, "Weary 
River !" 

The fact that Richard Barthelmess al- 
lowed a double to sing for him, and then 
permitted advertising which boasted of 
his "splendid singing voice," such things 
as this entirely spoiled the picture for me. 


Mr. Barthelmess was splendid in hi 
lent pictures, and no doubt then- were 

dozens of other roles waning, in which 
he would not have been required to 
And likewise there were probably ; 
really good singers who could have played 
that part to good effect Then why mi-- 
cast our favorites? Why s]K>il them for 
the future? No doubt the whole world 
would be indignant if it were discovered 

that some famous singfr ware being 
doubled ! Then don't le( it happen iii the 
movies! "Show Boat" Was another splen- 
did film, and 1 must say that Laura La 
Plante was magnificent in it, but again I 
object to the deceit fulness of the sound 
portion of the film. 

My collecting days arc over, alas and 
alack, and as tar as I can find "lit, I am 
not the only one. I feel sure thai 
are going to have fewer and fewer fan 
letters from now on. Imagine -ending 
quarter after quarter and receiving no 
reply! I have never done it, as my col- 
lection has thrived on the old-fashioned 
way of letters for photos. 

No doubt the photos arc worth much 
more than the requested quarter, but 
every one I know has experienced trouble 
in receiving photographs for the self- 
same quarters. One could hardly call it 
getting money under false pretenses, since 
the stars do not ask us to send our money 
for their pictures, but we do it out of 
common courtesy, and what do _ we re- 
ceive? Nothing! I think there is some- 
thing wrong somewhere and it does not 
lie with the star, but perhaps in the stu- 
dio system there is error. 

Pearl H. McLaughlin. 

137 Wilson Street, 
Hamilton, Ontario, Canada. 

This and That. 

Fans from all over have been criticizing 
stars with such slurs as "I don't like the 
way Greta Garbo does her hair." Or 
"What made Nils Asther shave his mus- 
tache?" I should think the fans would 
praise the stars instead of making remarks 
that probably the fans would not read if 
they were not loyal to Picture Plav. 

I would like to speak a good word for 
Paul Muni. I don't believe there is a per- 
son who saw him in "The Valiant" — un- 
less they are terribly hard-hearted — whose 
eyes were not filled to overflowing when 
they came out of the theater. I, »for one, 
bawled like a baby, especially when Mar- 
guerite Churchill, who should be given a 
great, big hand for her fine acting, re- 
peats their childhood prayer, "Good night 
— good night! parting is such sweet sor- 
row " Heavens, when I think of it 

my eyes fill ! For goodness' sake, fans, 
don't miss it. 

Also a word about those players who 
have been "discovered" by actors and di- 
rectors. For instance, James Ford. What 
has become of him? Two years ago he 
was "discovered'' by Corinnc Griffith, and 
the magazines said that he was to be 
given parts in large pictures, but it ended 
in his not getting anything. 

Billy Anderson. 

Manchester, New Hampshire. 

A Friend in Need. 
"Holly" should have refrained from 
sending a letter such as she did to any 
magazine to be published. She mentions 
that she read in a newspaper a letter, which 
a former friend of Gary's sent, saying 
that Gary high-hatted this friend ! I 
think perhaps this is a good time to men- 
tion the old and quite truthful saying, "If 
Continued on page 112 


Continued from page 23 
Miss Bow tremendously, but I've 
never met her. Don't want to — I 
might be disappointed. Well, I've 
just finished paying for Clara and I 
can tell you it was awful. Every 
month for eighteen months I had to 
make a payment and I couldn't go out 
anywhere, because I mightn't have 
enough money left to meet the pay- 
ment and they'd take Clara away 
from me. I paid the last installment 
last month, and I can draw a breath 
at last. All I need, now, is for some 
one who doesn't carry insurance to 
run into me. for the thing to fall to 

He has a small apartment high up 
on a hill in a sparsely populated sec- 
tion of town. 

"It's the first time in my life I've 
ever had a place to call my own — a 
place where I can be absolutely by 
myself when I want to. First, my 
mother and father were always boss- 
ing me. Then it was my sister and 
her husband. Now it's always some 
one at the studio. They do it be- 
cause they like me, I guess — actors 
and people like that whom I don't 
concern. I suppose they want to see 
me get ahead, but it's trying always 
to have some one saying 'Don't do it 
that way— it should be done like this.' 

"My way can't be altogether 
wrong, because it's put me at the 
point where, in less than two years, 
I'm playing featured roles. I have 
to rely a little on my own judgment, 
don't I ? Well, now when I leave the 
studio in the afternoon, I can either 
take a ride by myself, or else go home 

Oh, DaVie, BehaVe! 

up on top of the hill and either read, 
or just sit and look out of the win- 

He is about five feet eleven and 
weighs around one hundred and forty 
pounds. He has dark skin, dark, 
curly, brown hair and what Sue Carol 
declares are "quite the nicest eyes in 
pictures — a violet blue." 

Most of the people in the movies 
try to impress you with their lone- 
liness — the lack of understanding 
they encounter in their relations with 
the world, with their families and 
with their friends. It has come to be 
regarded as more or less a stock pose 
out here. 

If it is a pose with David Rollins, 
he is a better actor than I credit him 
with being. I don't know that he is 
exactly lonely, but I don't believe 
he has ever had a very close friend. 

I've seen him playing volley ball 
at the Thalian club's beach house, 
shouting hilariously. The members 
of this club are mostly youngsters 
who are featured in pictures. Their 
standing is pretty nearly equal and 
any attempt at posing within the 
family, so to speak, would promptly 
let the poseur in for some kidding 
that would take him the rest of his 
life to live down. 

The game over, David suddenly 
disappears. If one took the trouble 
to look for him, he would be found 
about a mile up the beach sitting on 
the sand, staring out over the waves, 
or watching the breakers as they 
rolled in. 

We drove out to Maywood one 

evening, looking for a picture called 
"The Shakedown," in which James 
Murray was playing. When we got 
to the theater the picture wasn't be- 
ing shown. David went in to ask if 
they knew where it could be found. 
A second later he was back in the car, 
his face beet-red, gasping for breath. 
"You go in and ask — they recognized 

One moment he says or does some- 
thing that gives you the impression 
he is far older and more knowing 
than his years give you a right to 
expect ; the next he says something 
that makes you wonder if Booth Tar- 
kington knew him when he described 
Willie Baxter in "Seventeen." 

On another occasion, when we were 
riding, I turned to him suddenly, 
hoping to startle him out of his shell, 
and asked, "Davie, does anything 
ever get you wildly excited, or make 
you very, very happy? Do you ever 
get a thrill out of anything?" 

Davie never batted an eyelash as 
he answered, "Oh, yes ! I get quite a 
kick out of a piece of angel cake, or 
looking into the windows of jewelry 
stores and wondering if I'll ever be 
able to buy any of the things I see 

So we drove over to my apart- 
ment and opened a bottle of ancho- 
vies for excitement. Those finished, 
Davie started Clara up, turned his 
face toward the stars and pointed 
the nose of his car toward the soli- 
tary, little apartment that stands high 
up on top of a lonely hill, and drove 

Continued from page 34 
why he shouldn't, Powell went 
eagerly. Followed engagements in 
"When Knighthood Was in Flower," 
"Outcast," "Under the Red Robe," 
then to Italy for "Romola," and Cuba 
for "The Bright Shawl." 

By this time firmly established 
with the public, Powell was signed by 
Paramount, with which company he 
has been ever since. 

One of the few screen players to 
whom the talkies have not come as 
the millenium, he has been consid- 
erably advanced by the advent of the 
microphone. His performance in 
"Interference," the first talkie to 
show intelligence, added greatly to 
the distinction of that picture. 

Distinction is, indeed, essentially a 
component of the Powell personality, 
both on and off the screen. The elan 
which characterizes Menjou in pic- 
tures and is missing in real life, is 
evident in the off-screen Powell. 
Worldly, intelligent, charming, he is 
what picture heroes are made of. 
But because some trick of physiog- 

Bill Powell— As He Is 

nomy renders his appearance sinister, 
he is catalogued as a villain. 

Which is all right with him, as 
long as it isn't the fairy-tale menace 
in a Zane Grey thriller. Realizing 
his facial limitations, he has no 
thwarted yearn for heroic roles, but, 
nevertheless, he does not enjoy doing 
heavies whose sole function is to ac- 
centuate the incredible virtues of the 
hero and heroine. He finds satisfac- 
tion in any role which deals with a 
man who gives the impression of 
having been born of man and woman, 
rather than concocted by a scenario 
writer and a tailor. He dislikes for- 
mula, hokum, and melodramatics, but 
doesn't allow his personal prejudice 
to deny the fact that they are good 
box-office ingredients. 

He has deep appreciation of the 
good things of life. The best in 
paintings, in drama, in caviar, in mu- 
sic, in automobiles. It is to be able 
to indulge these tastes, that he is ac- 
quiring money as rapidly as possible. 
He has a deep horror of poverty. 

Although he has never been destitute, 
he is aware that the only free spirits 
are those with money to unlock the 
doors of the world. 

His particular desire is to be foot- 
loose ; to be able, if he feels so in- 
clined, to pack a bag and catch the 
next train, or boat, or airplane. Per- 
petual travel is his idea of utter peace. 
Even a week's vacation between pic- 
tures is sufficient excuse to rush to 
the Grand Canyon, or Seattle, or 
Mexico. He admits to a sentimental 
love for Italy in particular, and would 
like to have a home there, making it 
the converging point of his travels. 

Ronald Colman and Richard Bar- 
thelmess are his two closest friends. 
His excursions to Hollywood restau- 
rants and such are comparatively in- 
frequent. He took up tennis a year 
ago, and has since been an ardent 
devotee, but not an expert. 

He enjoys his profession and would 
not want to follow any other, but is 
subject to moments of depression 
Continued on page 110 

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Hollywood's Nine O'clock Girl 

Continued from page 57 

worked herself into a fine state of 
the emotion required. 

Experience has bred a facility 
which renders this family participa- 
tion in rehearsals unnecessary — prob- 
ably a great relief in some quarters! 
Still, there is her voice. The first 
pupil to enroll for a course in modi- 
lied elocution when the university 
added the speakies to its curriculum, 
she was the only one to attend regu- 
larly two hours every day. Now, 
she and her father read aloud each 

"Shakespeare, at present." Some- 
thing happened to me just then, and 
I do believe that 1 swallowed an olive 
pit. Not that T believe nobody reads 
Shakespeare — hut when a blue-eyed, 
baby-faced hlonde tells me, so com- 
posedly, that such is her occupation, 
I choke if T am eating. 

For once, though, I hadn't allowed 
for that gorgeously naive candor 
which is Anita's greatest charm. 
"Not," she laughed, "for entertain- 
ment — I'd much prefer the maga- 
zines, though certain scenes of Shake- 
speare are very powerful, and T want 
to act them all over the place — but 
to train my voice. Daddy believes 
that a natural voice is best, hut there 
is much to learn in dramatic range 
and vocal inflection to express every 
little shade of thought. It is prac- 
tically an art. 

"We warl ile a little, so that I can 
keep tuned up. I haven't much of a 
voice. When T must sing in a pic- 
ture, I just trail along. I will take 
singing lessons, if my voice ever 
gives promise of being any good." 

For a time, he had run off for her 
screen classics which she had missed, 
his purpose being that she might 
study the skilled actors' technique. 
It developed, however, that she 
merely was enjoying herself hugely 1 

"I get the same thrill out of see- 
ing pictures that I used to, before I 
began acting. I wonder, when the 
actors talk about a certain movie, 
how they go about analyzing their 
impressions that way, and T don't 
see how it can be much fun, if they 
are always watching how scenes arc 
done, and everything. I guess I don't 
know enough about technique yet." 
Her shrug was deprecatory. "I 
simply like something, or don't, and 
I'm crazy about most all the players " 

Jeanne Fagels symbolizes very 
nearly the type of actress she hopes 
to become. 

"Won't it be wonderful if. some 

day. I can play such things ? I know 

ir sounds sill)- — presumptuous. But 

there must have been a time when 

Continued on page 113 

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Her FiVe Gifts 

Continued from page 71 

dresses possessing that particular 
brand of chic had managed to evade 
their discerning eyes, and the quest 
was still on, full tilt. 

As they drive from shop to shop, 
let's take a look at Miss Kenyon, that 
rarity among women who is able to 
combine the duties of wife, mother, 
householder, and actress, and do them 
all gracefully, with tact, charm, and 
good breeding. 

She's a beautiful girl, fresh and 
lovely. Her features are delicate and 
refined, and her coloring is exquis- 
itely blond, with blue eyes and pink 
cheeks. She uses rouge, of course. 
What woman worthy of the name in 
this twentieth century, when nature 
is so sparing with her tints, does not 
enhance them with the carmines of 

She has clothes sense — never ex- 
treme — but always in good taste, 
preferably vivid blues and greens, 
with conservative, graceful lines and 
hats to match. 

"She's a wonderful girl !" exclaims 
Miss Allison, who has rare qualities 
of loyalty and acumen. "And her 
home is as lovely as she is. Every- 
thing is beautifully run. It is per- 
fect, and the regime is smooth as 

"But I've a good housekeeper," 
adds Miss Kenyon. 

"Yes," interpolates Miss Allison, 
"if you didn't know how things 
should be and were not an executive 
and a judge of character, your house 
would stand a good chance of being 
chaotic. Yes, you're good, Doris, 
we've got to admit. 

"You are living a full, rich life, 
and living it to the full, and you're 
neglecting nothing. And I call that 
not only rare, but marvelous." 

Doris smiled. She has a brilliant 
smile. It's young, enthusiastic and 
full of glee. It comes and goes 
swiftly, and it's very broad. It has 
that youthful spontaneity of those un- 
spoiled and unafraid. 

She's impulsive and altogether 

She was quite frantic when she ar- 
rived in New York with a sick hus- 
band, and realizing that an indefinite 
stay was before her, and that she 
had left her baby in California, with 
five days' journey between them, she 
sent for the nurse and the baby and 
put them in an apartment, while her 
husband was recovering his health in 
a sanitarium. 

Satisfied that all was well within 
her domestic sphere, she went on a 
perfect orgy of shopping, but while 
she ordered lavishly, she canceled her 

orders promptly. Calm reflection 
convinced her that her impulses had 
led her amiss, and despite appoint- 
ments and fittings she would call up 
penitently and beg the mercy and un- 
derstanding of the shopkeepers who 
invariably capitulated to a maiden, 
a pretty and a winsome maiden, in 

"But," says she, "I couldn't stand 
all this long. I could never relinquish 
my work. I love my husband and 
my child, and I do all I can for them, 
but he has his own interests, and I 
must have mine. I don't feel that I 
am a great genius, a Duse or a Bern- 
hardt, or that the world of art will 
miss me if I fail to act. But I do 
feel the need of self-expression. I 
must have a definite interest in life ; 
a definite use for my own time and 

"I find the combination of a home 
and a career difficult — terribly, ter- 
ribly difficult — but I couldn't give 
either of them up. I am pulled in 
half a dozen directions ; my thoughts, 
my time, my duties are divided, but 
there isn't one I would deny. It may 
be just habit of mind which prompts 
me to go on with my work. It may 
be egoism, if you prefer to call it so. 
But I've always felt the need of hav- 
ing some means to express myself. 
Before I acted for the screen, I wrote 
poetry. I do still sometimes — often, 
I might say. As with most people, 
financial necessity prompted me to 
find a more lucrative form of activ- 

"The furtherance of my career be- 
came a habit of mind with me. All 
my thoughts, energies, and activities 
were directed toward the advance- 
ment of that career. 

"It is impossible suddenly to aban- 
don these pursuits, and though I no 
longer have that financial urge, or 
necessity, I have learned to occupy 
and to utilize every moment of my 
time. I don't know how to live with- 
out my work, which has become a 
part of me. 

"Since my marriage I have been 
able to blend my home life and my 
career, without making either suffer. 
I think — in fact, I know — I could 
not manage them both, if I had a 
contract which called for the mak- 
ing of one picture right after another. 

"An interval is essential for relaxa- 
tion and undivided attention to one's 
home and its problems. I make only 
a few pictures each year, so I feel 
that I maintain a fair balance be- 
tween work and home. 

"My home is far more important 
Continued on page 110 

Aiakim [sing Section 


She Couldn't Kid Herself 

Continued from page 70 

soliloquy, no elaboration. The sen- 
tence conveyed that the Mackaill 
manner, so composed, had been dis- 
turbed, that there had been tearful 
times, and that the one who never 
fails had given comfort. 

"Hollywood's worst hurt is broken 
friendships. Jealousy causes that 
'most unkindest cut.' I knew that 
men's hearts weren't made of leather, 
but I banked on friendships. After 
a time you learn to wait, to take 
people at face value, until circum- 
stances prove them. Sentiment has 
its edges chipped, but when you do 
find something real you treasure it." 

Knowing the brittleness of life, she 
has schooled herself to anticipate each 
challenge and to match it. to make a 
game of it. 

"You wear a front over heartaches, 
a gay bravado. You shrug and dance 
and pretend to be a "little crazy. Get 
me? You delude yourself that you 
cover your hurt with your mask. 
That appeases your pride. Suffer- 
ing makes you finer. Introspection 
follows feeling ; then gradually the 
normalcy of 'Well, that was that, 
chuck it.' 

"Hollywood has replaced bluff with 
self-assurance, taught me the frailty 
of artificialities and the value of 
commonplace and permanent reali- 
ties," she summed up, swiftly. "It 
has taken much of my faith in people 
and given me, instead, a profound 
respect for work. More than any- 
thing, it has taught me to be myself." 

Good-natured when trivial errors 
are made, she can be sharp and ada- 
mant on matters of importance, man- 
like in her bluntness and shrewdness, 
and in the calm, quick way with 
which she brushes aside those unes- 
sentials upon which most women love 
to dwell. The sort of girl whom a 
man calls a pal. 

No poet of to-day would type son- 
nets to her beauty. Instead, an in- 
habitant of that tinny thoroughfare 
known as "Applesauce Alley" might 
dedicate to her his latest "blues." the 
utmost of his praise in tunefully 
glorifying the modern girl. 

Her friendliness on the set strikes 

a happy medium between comrade- 
ship and aloof hauteur. They call 
her "Miss Mackaill" — no raucous 
first-name greetings. She can kid 
with the boys, without fear of fa- 

She lives in one of the new apart- 
ment hotels, modishly furnished and 
snappily serviced. It is like her to 
eliminate worry. 

Gowned for a party, her slimness 
wrapped in some gleaming stuff of 
gold, hair in symmetrical marcels, 
bead high, she is reminiscent of a 
Gainsborough, though her aristoc- 
racy is of personal development 
rather than that of heritage. 

It is in sport clothes, though, 
swinging along, alert and gay, that 
she is at her best. I associate people 
with things. She makes me think of 
a good, stiff breeze: of a Diaz silver- 
birch forest: of that red honeysuckle 
found only in certain forests ; of win- 

Ordinarily she is well controlled, 
with perfect presence. Occasionally 
frazzled nerves that snap, or the solv- 
ing of a problem, will send her out 
to the highway, to drive all night at 
racing speed, until dawn brushes its 
calm hand over her. Quite com- 
posed, she will appear at the studio 
as though no worries had ever both- 
ered her. Usually, though, her life is 
serene. While all actors talk of early 
hours and adherence to career's de- 
mands, I know few so punctilious in 
obedience to its rules. 

The methodical Mackaill refutes 
that wistful irony of Sara Teasdale. 

"When I have ceased to break my wings 
Against the faultiness of things, 
And learned that compromises wait 
Behind each hardly opened gate; 
When I can look life in the eyes 
Grown calm and very coldly wise, 
Life will have given me the truth 
And taken, in exchange, my youth.'' 

She has grown rather coldly wise, 
yet glories in her youth. I think she 
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Come On, Let's Sing! 

Continued from page 26 

79-89 SEVENTH AVE.. 

corrects it instantly. At the end of 
her lesson she knows where she is. 
And so does Morando. 

There is more than just study and 
application in bringing results in 
Bebe's case. She never knew a half 
note from a whole one until recently. 
But she has musical sense. It is a 
rare attribute. It will become rarer 
if she develops it. I feel sure she 

She is also studying piano with 
Fanchon Armitage. who commends 
Bebe particularly for her determi- 
nation, and also remarks on her un- 
usual cleverness and facility in fin- 

It's just no telling what Bebe will 
do. Signor Morando says she will 
one day sing "Carmen," if she sets 
her mind to it. She has the mezzo 
voice for the role, she knows how to 
act, she is of Spanish descent, and 
she is intelligent, so why not ? Heaven 
knows — and so do audiences — that 
the old operatic stage sorely needs 
a new Carmen. And not a fat one. 

Signor Morando and his wife have 
one of the busiest studios in Los An- 
geles. Morando is as interesting as 
his pupils. One of the first things 
he says to a prospective student is, 
"I am not teaching for Vitaphone, 
Photophone, Movietone, or any other 
kind of phone. If you want to study 
with me, be prepared to work. Every 
pupil is the same — rich, poor, fa- 
mous, unknown. Come here to work. 
Be on time. If you can't do both, 
stay away. I don't want you." 

Every now and then he becomes 
very temperamental when some one 
talks about Vitaphone, or one of the 
other sound-reproducing systems, and 
he nearly commits mayhem on the 
innocent maker of conversation. He 
will fairly shout, "Don't mention 
those — those — whatever they are — to 
me. There is one man who said the 
truth about them. All the noise that 
has been squeezed out of iceless re- 
frigerators has been put into talking- 
film machines." 

Some of his pupils from the film 
colony are Jane Winton, the posses- 
sor of a charmingly fresh and buoy- 
ant voice, which is as bubbling as 
herself ; Marion Davies, Jack Mul- 
hall, Lois Moran, Blanche Sweet, and 
Walter Pidgeon. John Roche has 
been one of his pupils, as well as 
Carlotta King and Norma Talmadge 
who, Signor Morando says, has a 
beautiful voice. She has not been 
studying lately, however. 

Another studio that fairly hums 
with activity, not to mention thou- 
sands of ahs and ees and oos, is that 

of Lillian Sloane, wife of Paul 
Sloane, the director. And North 
Detroit Street, where her studio is 
situated, has become overnight the 
parking place for more Rolls-Royces 
than it has known in its entire ex- 

Mrs. Sloane possesses a very gay 
and enthusiastic personality, which is 
a big asset and magnet for any pu- 
pil, and particularly for those from 
the film colony. She has the added 
advantage of having been married 
for thirteen years to a director, and 
therefore understands the demands 
and limitations of the screen, and 
knows all the latest wrinkles of the 
mechanical devices for registering 

Bessie Love has been working with 
her for two years, and one day when 
the gang were there — that is, Bes- 
sie, Leatrice Joy, Carmel Myers, and 
Gwen Lee — Bessie sang for me 
Gounod's "Sing, Smile, Slumber" 
and sang it well, too. 

Leatrice had her lesson in my 
presence and ably demonstrated what 
a magnificent muscle the diaphragm 
is, and also illustrated how disastrous 
a tight jaw may be in interfering 
with the flow of tone. 

It is recognized that Mrs. Sloane 
helped Leatrice stage a comeback 
from her long period of idleness by 
helping to launch her in vaudeville. 
The vaudeville contract reinstated 
Leatrice into talking films, with no 
little success. 

Mrs. Sloane helped Leatrice build 
up her act, advised her about her 
speaking voice, and permitted her to 
sing only a few phrases of song. 
It was discreet assistance. 

Billie Dove is another Sloane pu- 
pil. So is Mae Murray, said to pos- 
sess a "gorgeous soprano." Others 
studying from the film colony are 
Adele Rowland, otherwise Mrs. Con- 
way Tearle, Jacqueline Logan, Sally 
O'Neil, who could be a contralto if 
she stood still long enough, Alice 
Day, Frances Lee, Mary Astor, Mrs. 
Paul Muni, wife of the actor, and 
Mrs. John Francis Dillon, wife of 
the director. Lilyan Tashman is also 
a prospective pupil. 

Clifford Lott, long identified with 
the musical life of Los Angeles, and 
recognized as one of its best musi- 
cians and singers and teachers, is 
guiding the vocal destiny of Colleen 
Moore. Colleen has been studying 
diligently for over a year, not with 
the idea of becoming a prima donna, 
but to develop her voice, through 
singing, for talking purposes. Mr. 
Lott speaks highly of Colleen's keen 

perception and her quick, steady ap- 
plication. He also speaks enthusi- 
astically of Georgia Hale's voice, and 
describes it as "lovely." Joel Mc- 
Crea, who has been playing small 
roles in pictures, has most promising 
possibilities as a singer, according to 
Mr. Lott. He is a baritone. 

Julia Faye, like Bessie Love, is a 
coloratura soprano. There aren't 
many among the film players. Miss 
Faye is another serious, earnest stu- 
dent who has progressed to the stage 
of singing "One Fine Day" from 
"Madame Butterfly," not as a fin- 
ished show piece, but as part of her 
lesson. Her instructor is Airs. Henry 
Major, wife of the caricaturist. Mrs. 
Major has spent most of her life 
abroad, having been a singer in opera 
and concert. But teaching is her 
great love. 

Norma Shearer is also a Major 
pupil, but her love for music, her 
enthusiasm over developing her voice 
for speaking or singing purposes, can 
hardly be compared with that of 
Julia Faye, or the hundreds of other 
stars and players who are pursuing 

Advertising bE< i [< »N 

Gary Cooper is singing robust 
tones and arpeggios for Madame 
Gloria Mavne, also prominent in the 

musical circles of Los Angeles as a 
teacher and singer. Clara Bow has 
been devoting time to elocution les- 
sons. Mary Duncan has been work- 
ing, when time permitted, with Miss 
Swanson's teacher. June Collyer and 
Kick Stuart have been studying voice, 
as has James 1 [all. 

Monte Blue, Carlotta King. John 
Boles, Laura and Violet La 1'lante, 
Kathryn Crawford, Barbara Kent, 
Marian Nixon, and Marian Douglas 
all do their warbling at the studio of 
Harold Kellogg, who recently came 
to Hollywood from New York and 
abroad. Kellogg was a pupil of 
Jean de Rezke. Carlotta King, of 
course, has been studying the greater 
part of her life, and is with Mr. Kel- 
logg for special work and repertoire. 
Mr. Boles is a product of the Kel- 
logg method of teaching, having stud- 
ied with him in Paris and New York. 

Hollywood is changing ; it is pro- 
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tory stage, the song, and plenty of it, 
is the thin" ! 


Back Home — and Happ>? 

Continued from page 32 

Contentment fairly radiated from 

"I feel as though I'd come back 
home. I guess I belong here, with 
the horses and the circus folks." 

People called to him from near-by 
tents ; some one strolled into his tent 
and helped himself to cigarettes, 
without a "Please" or "Thank you." 

"I've been a little lonely the last 
few days," he went on. "Had Thom- 
asina with me for a while, but her 
mother took her back to Hollywood. 
Tommy inherited my love for the 
circus, all right, but my wife didn't 
like the life much. Why, Tommy 
knew every one in the show the day 
she joined us. Every one was teach- 
ing her their tricks. I went into the 
tent one day between shows to see 
if she was swimming with the seals, 
or swinging with the acrobats, and 
there she was on her knees on a 
prancing horse. 'To-morrow I'm go- 
ing to stand up,' she called to me. 
She's still real, Tommy is. Living 
in a big house with a lot of serv- 
ants, and going oft to France to 
school hasn't spoiled her a bit. I'm 
just a cowboy and don't pretend to 
be anything else, and Tommy's just 
like me. 

"I was with this outfit twenty 
years ago," he went on. "Got twenty 
dollars a week and thought I was do- 
ing fine. One day they fined me five 

dollars for watching the performers 
when I should have been out helping 
to load a wagon, so I left. Couldn't 
see how any one but a judge could 
fine me." 

His horse had been led up to the 
tent and the calliope was puffing the 
last of the introductory march, when 
he started to go. "Come on down to 
the train afterward," he called out. 

Tom is mighty proud of the pri- 
vate car the circus got for him. One 
big room, with a table and lots of 
armchairs, with Navajo rugs here 
and there to make it homy; a smaller 
room, with a wide bunk and innu- 
merable pictures of Tommy and Mrs. 
Mix; a jade-green bathroom, with 
cupboards all around. So delighted 
is he with it, that one almost forgets 
that he has long had a mansion in 
Beverly Hills, a yacht, and a house 
at Catalina. 

"I'm going to be with the circus 
for quite a spell," he told me in an- 
swer to the inevitable question about 
his coming back to Hollywood to 
make talking pictures. "Maybe as 
long as they want me. Everything 
is so real here it makes Hollywood 
look sort of like papier-mache." 

The train gave a warning jolt and 
I left. But not without a last con- 
gratulatory glance at a man who has 
gone back to the scene of his youth 
and found happiness. 

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than any work I could possibly do, or 
any heights I might possibly attain. 
And should I ever find that my work 
is interfering with my home, it will, 
of course, be the work that must go. 

"There is work awaiting me now 
in Hollywood. I shall not accept it, 
because I know my place is with my 
husband when he is ill. 

"But barring illness, and under or- 
dinary circumstances, I can see no 
reason why any woman should aban- 
don her work. My home is run 
comfortably. I see my child develop- 
ing as I wish, and my husband is 

"Sometimes our work keeps us act- 
ing in the same picture. That is 
great fun, even if it does happen to 
be bad business. 

"A woman's work outside her 
home keeps her on the qui vive, 
makes her keep her wits about her, 
keeps her brain active and alert. And 
naturally she is more interesting to 
a man — her man — than if she be- 

comes kitchen-minded. Work, I be- 
lieve, is the greatest factor in happi- 
ness at home — work which you love, 
which satisfies and develops you. 

"If, however, my acting ever 
threatens to mar the happiness of my 
home, I shall give it up unhesita- 
tingly. It may be a wrench, but I 
will do something else. I can write 
poetry, and I will develop my gifts 
as a writer in such a way that they 
will not make discord out of that 
domestic harmony which, after all, 
is the root of everything. But I will 
never, never be idle. Years of work 
have made me unfit for it. And 
so " 

But here the limousine drew up, 
with a sudden halt. And Doris, 
bubbling with enthusiastic anticipa- 
tion, hopped out exclaiming : 

"Oh, May, here's Estelle Taylor's 
favorite shop ! She says the dresses 
are simply divine !" And she was 
lost in the ecstasy of contemplating 
the new modes. 

Calm As tke Nigkt 

Continued from page 46 

Marguerite is now prepared to be- 
come "crazy" over California. She 
took me into the garden and turned 
a handle, whereupon water trickled 
down through a grotto into a pool, in 
which there were goldfish. A baby 
goldfish had been hatched the day be- 
fore my visit, half an inch long, 
according to the length indicated by 
Marguerite's tapering fingers, when 
recounting the offspring's appear- 

"This is what I enjoy," she said, 
standing under an archway of vines. 
"In New York there is nothing but 
buildings and not a garden in sight." 

The rush of the studio is hectic, 
but not disturbing to her. At eight 
o'clock Marguerite is ready for work, 

and she does not return home until 
seven. She then puts in an hour of 
fencing — for she must fence in 
"They Had to See Paris." 

This girl is still so young that she 
has had little time to gain more than 
perfection in music, refinement, 
poise, intelligence and pleasing nat- 
uralness. So natural is la Churchill 
that she makes all the others with 
theatrical trimmings look more than 

I feel certain that it is this natural- 
ness that will attract attention to her 
— in fact, it has, for the fans have 
already discovered her, and fan 
photos have had to be ordered. A 
sure sign that Marguerite Churchill 
is here to stay ! 

Bill Powell— As He Is 

Continued from page 104 

when making up, thinking to himself, 
"What a damn-fool thing for a man 
to be doing for a living— making 
himself pretty." He is deeply thank- 
ful that, with new processes, it is not 
necessary for actors to use make-up. 
He was once branded by an inter- 
viewer as "the wittiest man in Hol- 
lywood." It was an unkind compli- 
ment, life ever since having been 
miserable for him. "Come on," his 
friends challenge, "do something 
funny, say something cute." He is, 

despite that, the possessor of a fluent 
and charming wit. 

He lives with his mother and 
father in Hollywood. He prefers 
caviar to chicken livers, Florence to 
any other city in the world, Scotch 
to Bourbon, and champagne to either, 
the stage to the screen for entertain- 
ment, detests fittings for clothes, and 
likes good taste and dignity in all 
things. And, although it is none of 
your business, he has been married, 
but is separated from his wife. 

Am ertising Section 


He's a Soft-Boiled Egg 

Continued from page l M 

Victor was broke, and he ran into 
one of those small-town carnivals 
which offered twenty-five dollars to 
any man who could stand up for 
three rounds in a boxing bout with 
the carnival strong man. Victor 
knocked him out, got the twenty-five 
dollars and a job. 

Later the two of them got up an 
act together, Victor taking on all- 
comers in boxing, the other — Hugh 
MacDonald — standing with arms 
akimbo and offering twenty-five dol- 
lars to any one whose two horses, at- 
tached one to each arm, could pull his 
arms apart. They were pals, Hugh 
and Victor, and then one day they 
were invited to go through a brewery. 
Neither of them was accustomed to 
drinking, so a few glasses of beer 
were a few too many. They decided 
to hold a contest as to which had the 
bigger chest measure and each ac- 
cused the other of cheating in the 
measurements. So they broke up in 

a silly quarrel. That was twenty 
years ago. 

"And when I came to New York," 
said Victor, telling me the story, 
"who should walk into my hotel room 
t( see me but Hugh MacDonald ! V e 
hadn't spoken for twenty years. How 
we laughed over that old quarrel !" 

.Again that glow of tenderness came 
over him, in speaking of Hugh Mac- 
Donald. You could see that here 
was a man to whom a friend was a 
friend, a family something to live 

In fact, his family was his reason 
for not crossing the continent by the 
new air-rail route. "I'd have liked 
very much to travel that way," said 
Victor, "but I felt I'd no right to 
take such a chance. Xot when there's 
the possibility of an accident leaving 
two children without a father." 

Yes, this hard-boiled egg of the 
movies is a 
home ! 

He Dug His Way In 

Continued from page 48 

ranch with a well-stocked stable, and 
a bunch of calves which he keeps, one 
gathers, for roping purposes. 

"I get sort of homesick for Texas 
and ranch life," he admitted, with 
just a bit of embarrassment — like a 
small boy caught in some sentimen- 
tality. "It isn't that I like it better 
than Hollywood," he added with swift 
loyalty, "and I suppose that I wouldn't 
go back there to stay if I could. It's 
just that once you have known that 
sort of life, you can never quite get 
away from it. The space, the silence, 
the cleanness of it. You miss the 
animals and the companionship that 
grows up between men and the beasts 
they take care of. 

"I like to ride. But I want to be 
going somewhere. It wouldn't be 
any fun for me to "o out and canter 


Tell us not in mournful croakings 

How you woo Melinda fair, 
For your voice is like a buzz-saw. 

Though you look so handsome there! 

Boy, you've surely missed your calling 
As along through life you jog ; 

You should help a fog-bound vessel — 
You could imitate a frog. 

Lee James Burt. 

"three-minute egg" at 

up and down a bridle path, all dressed 
up ! I want to sleep out there and 
get up in the morning and feed my 
horse and rub him down, and then 
saddle him and start out. 

"I'm teaching Charlie to ride a 
Western saddle and rope a calf," he 
broke off, adding proudly, "You 
ought to see how quickly he's picking 
it up!" 

Charlie accepted this tribute with 
becoming modesty, and presently we 
parted, the two hurrying off. arm in 
arm like two schoolboys on a holiday. 

I like Big Boy. I like his sim- 
plicity and his grin and the gusto he 
has for life. And when he gets a 
part which suits him, I think he is a 
fine actor. 

■That's a lot to be said in any man's 
favor ! 


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Continued from page 55 

"Every picture I have made," he 
went on, "has been the first talkie 
attempted by its director. It has 
been the most interesting experi- 
ence I have ever had, watching 
to see what each one has learned 
from the others, and how each 
picture improves as the makers ex- 
periment. Each one has been striv- 
ing for something a little different 
from what other directors have done. 

"Bob Milton, with his stage experi- 
ence, was trying, in 'The Dummy,' to 
smooth out the dialogue to make it 
clear and natural and intelligible. 

"Dorothy Arzner, working with 
'The Wild Party,' remarked that the 
dialogue in talking pictures had de- 
layed the action and slowed the 
tempo. She .was working for swift- 
ness of movement. 

"Frank Tuttle, directing 'The Stu- 
dio Murder Mystery,' strove for 
smoothness — to remove that jerki- 
ness which had characterized all 
talkies up to that time. With beau- 
tiful results, too! 

"Each of these directors has added 
something to the whole of this tre- 
mendous experiment which is being 
carried on in the picture industry. A 
fascinating process to watch ! 

"Watching all this, I know at last 
what it is I really want to do. I 
want to direct. That is the next 
step. I began to act, because it was 
the thing I had to do. But, after all, 
you know, acting is a funny sort of 
job for a man ! Make-up — and all 

There spoke Freddie's early Mid- 
dle-Western environment. For he 
sprang from people who had not an 
actor in their family history. The 
friends of his youth were of the 

Freddie For Keeps 

same type. And at the University 
of Wisconsin, while he was presi- 
dent of his class twice in succession, 
while he was managing the football 
team, while he was winning a schol- 
arship which would send him to New 
York to study banking in one of the 
biggest financial organizations in the 
country, he was hiding from his fra- 
ternity brothers, and perhaps really 
from himself, this inexplicable urge 
to go on the stage. One didn't do it 
in his circle unless one was rather — 
odd. One sold bonds, or went into 
business with one's father, or stud- 
ied law. Something solid. 

Finally, after he had gone to New 
York and studied banking for a year 
or two, he developed appendicitis. In 
the hospital, convalescing, he consid- 
ered his future. 

"I am not doing what I want to 
do," he confessed to himself. "I 
don't want to be a .banker. I want 
to do something in the theater. I'm 
going to take a crack at it before it's 
too late." 

So he did. His first role was that 
of an old man who, appropriately 
enough, rang up the curtain in Be- 
lasco's "Deburau." After that Fred- 
ric March was an actor. 

He acted on Broadway. Then he 
wisely seized an opportunity to play 
in stock in Denver. A grinding ex- 
perience, stock, but invaluable to a 
young player. 

And he married Florence Eldridge, 
an actress of no small ability herself. 
She too is working in pictures at 

"The first character you ever play 
makes a permanent mark upon you," 
he told me. "That old man who 
rang up the curtain — I studied him 

and worked over his make-up and 
practiced his walk. Thought about 
him, until I knew all there was to 
know of him. His history, the things 
in his life that had influenced him, 
his passions, his disappointments, his 
loves. I have never forgotten him, 
although his was an unimportant part 
in the play. And I still prefer to 
olay old men above any other type of 

You have to love your job to study 
it like that! 

That thoroughness. I believe, is 
one of the most important contribu- 
tions that stage people are going to 
make to pictures. The nature of 
their medium induces an exhaustive 
study of the character to be por- 
trayed. They work for weeks be- 
fore the play opens, and they arc 
going to live with their characters, be 
those people, every day during the 
run of the play. It may be for years. 
It is a very different process from 
that of silent pictures, in which a 
scene is perfected, shot and done with 
within one day, the picture finished 
in a few weeks, and the actor goes 
on to a new portrayal. 

In talking pictures, where the ac- 
tor must learn lines and make his 
character speak, that thoroughness 
and painstaking study of the stage 
actor is going to show in his work. 

Fredric March has the advantage 
of that training. He has talent, per- 
sonality, earnestness, intelligence, and 
a terrific love of all things pertain- 
ing to showmanship. 

Yes, on second thought I reiterate, 
a bit more loudly, my timorous 
prophecy that Fredric March is one 
stage actor who will go over in talk- 
ing pictures ! 

Continued from page 103 
you can't say something good about a 
person, don't say anything." 

I do not believe everything I see and 
hear, and especially if it is printed in a 
newspaper. If "Holly" had actually known 
this supposed friend of Gary's, and knew 
that his story was true, she should not 
have felt it a duty to write that letter on 
hearsay. Another thing, Holly, ihave you 
ever walked along the street, deep in 
thought about something important to you, 
and had a friend call up and say that you 
didn't speak when you passed that day? 
Well, I have, and I think almost every- 
body has had this experience. So why 
not give Gary the benefit of the doubt, 
especially when you. must realize 'that _ he 
has much more on his mind — more im- 
portant than anything we fans have. An- 
other thing to think about is, that it 
might have been a person who just knew 
the actor by sight, and who wished to 
"get in" with him now that he is a star. 

Fraser MacDonald is next. I should 
think that you would be ashamed of 
yourself to take to heart what "Holly" 
said about Gary Cooper. How do you 
know it's true? Are you a real fan to 

What the Fans Think 

refuse to go to see a favorite's pictures 
just because you heard something detri- 
mental to him? Is that the correct thing 
to do, without giving the suspected person 
a chance to explain? You hear one side 
of the story and consider that sufficient — 
the suspected person is guilty! 

And what if it should be true? Are 
you going to stop seeing him on the 
screen, when you confess that you "love 
him so much and he has given you many 
enjoyable hours"? Gary Cooper is a won- 
derful actor, too wonderful to be ban- 
ished from the screen. And another thing, 
who are we to dictate to the people who 
give us their .talent, and beauty to make 
us happy, what they should do in private? 
I think it is our duty to refrain from 
criticizing them, and allow them to live 
their lives as they wish. 

Renoda Gwynne Brown. 

196 Alartine Avenue, 
White Plains, New York. 

Irene and Dolores In Person! 

Perhaps it is true that Mary Brian is 
frail looking off the screen. To be frank, 
I don't think she is pretty. She doesn't 

wear clothes well, and she can't act. Why 
they give her leads in so many pictures 
I'll never know. 

I had the thrill of my life when I saw 
Irene Rich in person at Keith's Theater. 
She is absolutely the most charming 
woman I have seen in a long time. She is 
lots prettier in person than on the screen. 
Her voice is that of a girl instead of a 

I also had the pleasure of seeing Do- 
lores del Rio in person. In fact, I was 
so close to her I could easily have touched 
her. She appeared at the Stanley Theater, 
with "Evan: eline." She is also prettier 
in person than on the screen. 

The movies haven't yet perfected pic- 
tures to the extent of photographing the 
beautiful complexion of the stars. Gee! 
Del Rio is exquisite ! If you ever have the 
chance to see her, grab it. She is far su- 
perior to that Mexican wild cat, Lupc 
Velez. Where was Gary Cooper's head 
when he fell in love with her? 

Arline Lenslev. 

Baltimore, Maryland. 

Continued on page 116 

Advertising Section 


Hollywood's Nine O'clock Girl 

Continued from page ]05 

she hadn't had experience, and didn't 
know so much. If I work hard, do 
you think 1 might develop into almost 
as great an actress?" 

There is considerable distance be- 
tween the immature Anita and the 
skilled sophisticate, Miss Eagels. Yet 
who can prove that Miss Eagels never 
was eighteen, never a bubbling bun- 
dle of dreams, never a bit crude, 
her talent never at that raw stage, be- 
fore cutting and polishing endowed 
the gem with brilliance? Obviously, 
Miss Eagels at some time must have 
been all these things which Anita is 
now. Perhaps she was not quite as 
pretty, or had not such an auspicious 
debut and such splendid opportuni- 
ties ; mayhap she displayed even less 
embryonic ability. 

Reassured that there was no law 
to prevent her becoming almost as 
line an actress — it is the policy of 
her confreres, in a genuine affection 
rather unusual, to belittle her talent 
slightly, to keep vanity away — she 
continued, "But I want to become 
nice in the last reel. Wicked women 
are so much more interesting and 
dramatic, aren't they?" Concurrence 
was given, chucklingly. You agree 
with all Anita's enthusiasms, because 
she is eighteen and vivacious and art- 
less, and you know that you never 
again will be. 

"You have to turn nice, for the 
public must like you. The fans want 
to imagine themselves as you ; I'm 
that way, when I see pictures. 'Re- 
forming' gives you all the more dra- 
matic opportunity. Ingenues never 
do anything really important." 

In the management of Anita, a 
sane balance is shown. While prac- 
tically everything right now, I sur- 
mise, is being put back into the busi- 
ness — which is Anita — the possibility 
that the venture may not succeed 
is often mentioned in her presence. 
They would keep her free from that 
first, false conceit, glamour's twin, 
which wrecks many frail star-ships 
so soon after their launching. Things 
do revolve about Anita, but she knows 
that her career is on probation. If 
she fails, she must go back East, 
where Papa Pomares will resume his 
business connections, and forget that 
she ever saw a studio. 

With all things in Anita's favor, 
those concerned agree that her growth 
must be steady and logical. If un- 
der their guidance she achieves in the 
hectic atmosphere of Hollywood the 
normal development of an ability in 
any other business and community, it 
will be an unusual and praiseworthy 

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Advertising Section 


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Read Air Trails 

Stories of Aviation 

To Him Wko Waits 

Continued from page 67 

Birmingham, Alabama, being the 
place where he was born twenty-six 
years ago. He received most of his 
education in Baltimore, then went 
to St. John's College, Annapolis. 

But you know how it is — young 
people will go on the stage after 
gaining congratulations in college 
theatricals. Such happened to Mr. 
Page. After graduation, he went to 
New York and was successful in ob- 
taining a small role in the 1923 ver- 
sion of the Music Box Revue. So 
good was he that his part was in- 
creased before the run ended. 

Thus stood Paul Page's career 
when he started rushing after chances 
to break into the films. In the midst 
of all his go-getting excitement, his 
friend, James Hall, returned to New 
York to make "Love's Greatest Mis- 
take." Jimmie's yearning for film 
fame had been somewhat similar to 
Paul's experience at that time. 

"Jimmie and I had been friends 
a long time," the latter remarked 
without any rush or gush. "He said 
to me 'Come out to Hollywood, Paul. 
I know you can get a break there.' 
Being still crazy for film work, I 
went to California with him." 

Jimmie gave advice. I pity any 
person following it, for Jimmie's 
well-meant ideas are likely to fluctu- 
ate at any moment. Nevertheless, on 
this occasion his counsel held a grain 
of truth. 

"Don't let them see that you are 
overeager to get into pictures," Mr. 
Hall told Mr. Page. "Let them imag- 
ine you don't give a darn to act on 
the screen." 

Mr. Page refused to adopt Mr. 
Hall's rather frightening method. He 
insisted that the overambitious chap 
always got the breaks. 

"I did more running about and 
saw more people and took more tests, 
than any actor in existence. There 
was a test at the Fox studio. I was 
taken onto a stage where Olive Bor- 
den was working. After the scene 
was finished, I was rushed before the 
camera and told to act the brief se- 
quence I had just seen. In all that 
commotion around me, the result 
wasn't so good. 

"My next port of call was at Sam- 
uel Goldwyn's studio. Another test 
was to be taken. Unfortunately, I 
was stupid enough to mention the one 
taken at Fox's. The casting director 
insisted on seeing it. That finished 
me with him. Metro-Goldwyn was 
the next in turn. 

"Tests seemed to haunt me. Crash- 
ing the studio gates,, and worrying 
myself sick over seeing executives, 

finally made me feel fed up with 
Hollywood. I couldn't stay here any 
longer, for I was missing stage offers 
by doing so. 

"There's something lacking in me 
that is needed for success on the 
screen," I told myself. "I fall down 
somewhere. New York and Broad- 
way was my only favorable outlook; 
so I said good-by to Hollywood and 
pictures, and returned East to spend 
the rest of my working days, I 
thought, on the stage." 

Mr. Page changed his former mode 
of go-getter action ; he no longer 
rushed hither and yon after picture 
roles. He resolved to live a calm, 
quiet life, seemingly devoid of all am- 
bition for screen fame. And so, for 
the moment, we leave him. 

Back in Hollywood, Winfield Shee- 
han, vice president of Fox, sent Ben- 
jamin Stoloff, a young Movietone di- 
rector, to New York to shoot atmos- 
pheric scenes for "Speakeasy." The 
gentleman was likewise asked to find 
a suitable hero for the picture. 

Mr. Page was appearing in vaude- 
ville at the time. Quite casually he 
met Mr. Stoloff. It was natural that 
acting should he spoken of. The 
stage, then the screen. 

"Why don't you apply for this 
Movietone part?" the director asked. 
Mr. Page laughed. A test? Ancient 
things of long ago. Gone from his 
young life altogether. In short, he 
couldn't be bothered. 

"I'd probably be no good on the 
screen," he even suggested. Possibly 
no other actor had ever spoken like 
this to a director. Its originality was 
arresting. An argument ensued, 
though friendly withal. A couple of 
days later Paul received a pressing 
request to call and have a test taken 
for "Speakeasy." In order not to 
seem indifferent to his friend's in- 
terest, he went. 

"The microphone didn't scare me 
at all. The only thing I was afraid 
of at first was the camera — but no 
longer. Having just finished my sec- 
ond picture — a silent one — I feel like 
a veteran !" 

His role in "Speakeasy" has 
brought him no little success. "Pro- 
tection," his second film effort, is a 
newspaper story. 

Gone forever are the go-getter as- 
pirations belonging to his early days ! 
Everything is taken as it comes. 

In any case, all we need notice right 
now is the fact that Paul has proved 
Mr. Schulberg's maxim to be in some 
way correct. For Mr. Page is proof 
that if you are good, Hollywood will 
find you ! 

Advertising Section 


Irene Is Made Over 

Continued from page 43 

"I was typed into stupid, rocking- 
chair women who waited, or Vic- 
torian fichu ladies who made a doijnia 
of dignity, as they strolled through 
formal gardens and oak-paneled 
manses. I was simply," she said, 
with keen relish, "too darned lady- 

"Once you are catalogued, you 
must stay put, so they paid no atten- 
tion to my requests for more inter- 
esting roles. Only Lubitsch thought 
I could look and act sophisticated. 
I got so tired of it all that I became 
sick with discontent. You can re- 
main with one company too long, re- 
gardless of its fairness to you finan- 
cially; you can accustom yourself too 
much to one mode of thought and 
viewpoint. A one-track hrain is a 
handicap, personally and profession- 

"I felt so blank and drab, with the 
futility of repetition ; and that sense 
of monotony was reflected on the 
screen and helped to add age. Many 
of my pictures had a workmanlike 
air, as though done to a metronome. 
I almost went into eclipse." 

"Craig's Wife" and "Ned Mc- 
Cobb's Daughter" gave her powerful 
roles. Otherwise there was seldom 
a false note in her expertly correct 
ladies — and seldom an interesting 
note, either. 

"Besides, my motherhood was over- 
publicized. My pride in my girls 
caused me to prate too much of com- 
bining motherhood with a career, of 
woman's domestic place. This con- 
stant reiteration, coupled with talk 
of my professional duties and my 
sedate roles, all combined to fix in the 
public mind an impression of me 
fussing over a large lot of responsi- 

"Seeing others achieve success in 
the theater was a sting to my pride. 
I had had spunk enough to make our 
living in the movies — why couldn't 
I, too, try the stage? So I forced 
myself into it. I cannot be grateful 
enough for all that engagement did 
for me in correcting false impres- 
sions, and in teaching me so much 
of value for the talkies." 

Canceling her tour when Fox wired 
for her to join Will Rogers, in "They 
Had To See Paris," she plunged into 
work the very day of her arrival, 
reporting at the studio for scenes 
even before going home. 

"The role delighted me. Old-fash- 
ioned, ordinary home folks. Rather 
narrow and fussy, but extremely hu- 
man, with a whimsical pathos. It 
gave me a fine opportunity to charac- 
terize vocally. At first, before oil 

was discovered. T played her Okla- 
homa — a whining drawl, a sctness. 
With money and Paris, I could not 
only dress her in exaggerated mag- 
nificence, but also express her new 
affectations of speech. It was great 

She is inclined to alternate: a 
couple of talkies and a road tour, then 
a Broadway play after another sea- 
son in the elocutionary movie. Her 
personality, with its more assured 
vivacity, would ornament distinctly 
any comedy-drama. 

With quite a household to manage, 
since her marriage to David Blanken- 
horn, a wealthy business man, she 
makes far less to-do about it all than 
she used to over a new frock for 
Frances, or taking Jane to the den- 
tist. Her girls and her two stepsons 
get along well. Using tact in han- 
dling the boys, she never disciplines 
or orders them ; in turn, they defer 
to her wishes and idolize her. The 
result is a harmonious home, with 
sentiment and gay laughter. 

Her associations are mostly non- 
professional, of her husband's circle. 
Due to his own strong character and 
to her exquisite tact, she did not at- 
tempt to force him into her picture 
environment, but adapted herself to 
his. Society women, the wives of 
prominent lawyers and bankers, join 
her in social hours. It is a tranquil 
life, yet busy and interesting. Mo- 
toring to their Santa Barbara home 
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in a chukker of polo. Swimming ; 
de luxe picnics at the beach ; teas at 
old, ivy-clad Pasadena homes : shop- 
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ritzy places. 

She knows, as maturity alone can, 
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Eyes twinkling with swift amuse- 
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should not enjoy many more years of 
work and accomplishment. Why, in- 
deed? By all the new rules, whereby 
the cinema demands character, intel- 
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experienced loveliness, roles in the 
articulate and sophisticated movie 
await her, and these she will fuse 
with this energetic charm which she 
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Continued from page 85 

To a certain degree this is un- 
doubtedly what will happen. Al- 
ready here and there, promising girls 
are being singled out of dancing 
groups for more important work. 
Time will tell whether the film en- 
semble is the incubator of stars. 

One thing seems sure, however — 
the film chorus will never be the easy 
road into the movies that the bath- 
ing squad used to be. In the hal- 
cyon days, a director might take a 
fancy to the lunch-counter girl, and 
next day she would be in a bathing 
suit and facing the camera, actually 
in the movies with no experience 
whatever, and serving the purposes 
of decoration very nicely. And, if 
she should happen to make a few- 
false moves, that was only a matter 
of retaking a scene or two. a trifling 
item in pre-Yitaphone days. 

But the talkie director who would 
take a totally inexperienced girl, and 
thrust her in the chorus, would be 
plain crazy. 

That is the reason why film chorus 
girls must be thoroughly experienced. 
They have studied dancing and sing- 
ing, and many of them have been on 
the stage for several years. Like the 
old-time bathing girls, however, they 
are unknown to fame, and many of 
them are appearing in pictures for 

Tke CKorine Comes to Stay 

the first time. It spells opportunity 
to them, but an opportunity so hedged 
in with "if s" that few can hope to 

Never before in pictures, on the 
stage, or anywhere, have such for- 
midable qualifications for success ex- 
isted. A girl must photograph well, 
and many do not ; her voice must 
record in a charming way, and very 
few do ; she must have a good figure, 
must be able to dance, and must have 
acting ability. The girl who can 
measure up to all these qualifications 
will be indeed rare, and assured of a 
' warm welcome. Many will be called, 
but few chosen. 

Some companies, despairing of 
ever finding such a paragon of wom- 
anhood, are doubling singers with 
dancing girls. While the ensemble 
is dancing a hit number to a "dead" 
microphone, a group of choir singers 
behind the camera are producing the 
vocal music which is recorded. It is 
done in such unison that the illusion 
is perfect. 

The possibilities for development 
along this line are awe-inspiring. 
One can imagine the synthetic siren 
that movie-makers of the future will 
be able to create — a Lorelei voice, the 
face and figure of a Venus, and the 
dancing grace of a Pavlowa. It will 

be indeed a rare man who will be able 
to resist this superwoman. 

Where will the movie chorus girls 
be recruited ? A casual survey of the 
musical films, such as "The Broadway 
Melody," "Rio Rita," "On With the 
Show," "The Movietone Follies," 
"The Hollywood Revue," and "Hit 
the Deck," shows that talent is drawn 
from various sources — from dancing 
classes, from stage shows, from pic- 
ture-theater prologues, from specially 
trained persons registered with the 
Central Casting Bureau. Fox has 
put a group of girls appearing in a 
Los Angeles theater prologue under 
contract. They range in age from 
twelve to eighteen, which is an in- 
dication that in the film chorus youth 
must be served. Even the youngest 
of these has had experience. 

The girl appearing in a revue num- 
ber in a Los Angeles or Hollywood 
theater will undoubtedly stand a bet- 
ter chance of crashing the movie gate, 
than she would by besieging directly 
Central Casting Bureau and the stu- 

But this is not the signal for a rush 
to Hollywood. Many persons with 
stage experience have already dis- 
covered, to their sorrow, that there 
are a hundred applicants for every 
job in the talkies. 

Continued from page 83 
a couple of bailiffs appear at the door 
with handcuffs. 

It sounds simple and harmless 
enough, but there is an insidious dan- 
ger in this sort of censor evasion. 
Unable to present adult themes in a 
serious and thoughtful manner, pro- 

Are C 



uman s 

ducers resort to undue emphasis on 
physical details to lift their entertain- 
ment out of the kindergarten class ; 
and it is rather appalling to think that 
the taste of the oncoming generation 
is being deliberately beguiled awayj 
from strong, clean, and truthful' 

studies of life by subterfuges and al- 
lurements which present a false con- 
cept of it. Trickery and deceit breed 
evil in whatever medium they invade. 
Censorship defeats its purpose, be- 
cause it attempts to dictate to the con- 
science of the individual. 

Continued from page 112 
Miss Martin is Answered. 

In July Picture Play Miss Martin, of 
England, appealed to American fans to 
appreciate British films. I expect, by the 
time you read this, some of you will 
have seen the British film "Kitty," and if 
you appreciate this I'll eat my hat. It is 
being exhibited in America and Canada 
and just shows what England cannot do. 
The dialogue was recorded in America, 
and the recording is the only thing of 
note. You cannot argue with a Britisher 
about British films. He always flies to 
the well-known excuse — that America got 
ahead during the war. But that does not 
account for the poor sets they give us. 
We are bound down to a little corner of 
the set, and here all the action takes 
place. Two years ago the theaters would 
not show an English picture until they 
were forced to do so by the British Gov- 
ernment. And even now the other half 
of the program has to be good to get a 
big audience. 



London, England. 

What the Fans Tkink 

Calm Yourself, Betty. 

How I hate to see a picture with Alice 
White ! I've seen her in "Naughty Baby" 
and "Show Girl," but enough is enough! 
This time it is too much ! She gives me a 
fearful pain. I feel furious every time 
I see a picture of hers. 

I read in the article, "Buddy Looks At 
Love," that Mary Brian is one of his 
girls. I'm glad of that — they just suit 
each other. Oh, how glad I am that Alice 
White is not a girl of his ! 

I agree with Joyce Alliston about tak- 
ing Alice White off the screen and award- 
ing a leather medal, but I'd do more than 
give whoever did it a vote of thank'- — -I'd 
claim them my benefactor for life. 

Betty, of Toronto. 

Toronto, Ontario, Canada. 

A New Era Dawns. 

Has no one noticed that, along with the 
great change in Hollywood, has come a 
change among the fans? They're grow- 
ing more intelligent. Time was when a 
hero was a hero because his eyes were 

dark and soulful, or his profile was in- 
spiring. But no more. 

The public demands that an actor be 
an actor; mere good looks can win no 
laurels to-day. On the other hand, many 
homely stars are winning acclaim, who 
would have never caused a flutter in the 
olden days — Eddie Dowling and Joe E. 
Brown are examples. Surely Jeanne 
Eagles would never win a beauty contest, 
yet I defy any one to equal her portrayal 
in "The Letter." The same is true of 
Ruth Chatterton. 

They are not destined to become movie 
idols, because the day of movie idols is 
over. They will be admired sanely, con- 
servatively and wisely. Their pictures 
will be patronized widely, for one can al- 
ways be assured of a good performance 
when a trained, experienced star gives it, 
and we will see less and less of the 
"Wanrpa- baby" variety, who traded on 

looks alone. 


Richmond, Virginia. 

Advertising Se< 


Eas>> Come, Eas>? Go 

Continued f 

one. A real duchess requires only 
posing; an impoverished one requires 
acting. Winifred acted in "Adora- 

Julia Faye's place in the film firma- 
ment was secure as long as she was 
in the old Cecil DeMille roster. Julia 
was in all C. B.'s films, from his tin- 
sel bathroom epics down to "The Ten 
Commandments" and "The King of 
Kings." Remember "Manslaughter," 
"Saturday Night." and "You Can't 
Fool Your Wife?" Julia did duty in 
them all. In the bathroom films she 
played vamps and in the latter-day 
religious films she played virgins. 
But when DeAIille tore up the plumb- 
ing in his bathroom and disbanded 
his forces, Julia was sans job for the 
first time in her career. Out in the 
world, and nobody heard from her 
for several months. But Julia is now 
signed with Metro-Goldwyn, which 
is almost as secure as C. B., though, 
as you might say, room without bath. 

And — don't be surprised — another 
absentee to return is bright, efferves- 
cent Mae Murray. Her vaudeville 
engagements over, the blond Mae is 
in Hollywood, scheduled to do a 
series of dialogue films for Tiffany- 
Stahl. The magazines have kept 
frigidly silent concerning the future 

rom page 90 

activities of this eccentric little ac- 
tress, and it is many a moon since her 
name or photo has glittered on their 
pages. But silence can't keep -Mac 
.Murray in seclusion. And so she 
comes back again to pout and pose 
and perchance to act. We shall sec. 

And more will come, wagging their 
contracts behind them. Constance 
Bennett, who a few years ago was 
embarking on a promising career, and 
retired to marry the wealthy Philip 
Plant, was recently unmarried and 
has returned to the screen. There 
have been rumors of the return of 
Theda Bara. She has made one un- 
successful attempt. Personally we 
consider her too reminiscent of a pe- 
riod definitely past. But you never 
can tell. 

And so a peculiar balance is kept 
up. As the old go out and the new 
come in, so too do the new go out 
and the old come in. And it is good 
to see them come back. After all. it 
is the old favorites, who have enter- 
tained us evening after evening, who 
count. We know their worth, and 
we'll cheer every one who is coura- 
geous enough to come back in front 
of the leggy young ladies, who kick 
and make faces as their contribution 
to the art of the screen. 

Tke Stroll 


Continued from page 59 

found one of them. From that time 
on no one is accountable for your ac- 
tions except yourself. 

New York may be famous for its 
beautiful girls with apartments and 
limousines, but Hollywood will never 
be noted for the same cosmopolitan 
manner of living. 

The reasons are far from the moral 
one. Expediency and comfort, rather, 
rule the day. 

The trouble with Hollywood is that 
if a man smiles at a girl, or even 
takes her out to dinner, she expects 
him to put her in pictures. 

It has been found by actual count 
that every girl in Hollywood is eager 
for a career, and some play for it 
cleverly, others not so cleverly. But 
in the end, every man they know, 
however slightly, is asked to give the 
little girl a shove up the ladder. 

So, naturally, the big boys with the 
limousines shun the little girls with 
ambition, in an effort to avoid their 
asking for favors in the casting of 

I know a couple of girls who came 
from New York to play this racket 

for stardom, and couldn't get into 
Central Casting Bureau. They went 
back to New York, and at latest re- 
ports both had all the luxuries of a 
Long Island estate. Proving that 
New York is a guileless town, and 
that Hollywood, for all its meander- 
ing ladies, is not yet prepared for the 
Continental mode. 

This is attributed also to the male 
and female old-maid gossips of Hol- 
lywood, who scatter news of this type 
with the ferocity of buckshot. 

At the mention of reality — ah. ha! 
— what about interviews with stars! 

A year or two ago we had a rush 
of seeming honesty, and John Gilbert 
told what he thought of his mother. 
Interviews to-day are yessing con- 
tests, with the star trying to get in all 
he can about his producer — provided 
he isn't trying to break his contract 
— and the writer remembering al- 
ways that Christmas comes once a 

Some day. when all the present 
constellations are dim. I'm going to 
collaborate with some writer on "Mir- 
rors of 1 lollywood." 

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A Confidential Guide to Current Releases 

Continued from page 61 

with a cast including three important 
talkie discoveries, Marguerite Church- 
ill, Dorothy Burgess, Kenneth Mac- 
Kenna. Intrigue and adventure around 
a country estate, crooks, jewels, and 
lovers. Well-played support. 

"The Time, the Place and the Girl" — 

Warner. All dialogue. An amusing, 
lively story from the pompadour age. 
Grant Withers makes debut in talkies, 
with honors, as victim of a stock fraud, 
but he blunders out. Every moment 
good for a laugh. Betty Compson, 
John Davidson, Gertrude Olmsted. 

"Charming Sinners" — Paramount. All 
dialogue. A mild stage play denatured 
further for the screen, with much tea 
sipping and hand kissing. A constant 
wife catches up her husband and gives 
him a lecture and makes threats, all 
elegantly set forth by Ruth Chatterton, 
Clive Brook, and William Powell. 
Mary Nolan's first talkie appearance. 

"Behind That Curtain" — Fox. All 
dialogue. Very good film, in spite of 
the mystery being revealed too soon. 
Lois Moran in audible debut. Story of 
a girl who marries an adventurer in 
London and discovers in India that he 
is a murderer. Capital performance 
by Warner Baxter. Gilbert Emery, 
Philip Strange do well, also. 

"Broadway Babies" — First National. 
All dialogue. Backstage melodrama of 
the usual sort, with one redeeming se- 
quence. Entertaining, with AliceWhite 
trying hard to act, and a good cast. 
Fred Kohler, as rum-running lover, 
magnificent. Charles Delaney, Sally 
Eilers, Marion Byron, Bodil Rosing. 

"Mysterious Doctor Fu=Manchu, 
The" — Paramount. All dialogue. Scot- 
land Yard versus Doctor Fu, with plenty 
of Oriental trimmings, develops into a 
thrilling climax. The heroine is the 
ward of the Chinaman, and the gallant 
hero one of the latter's marked vic- 
tims. Warner Oland, Neil Hamilton, 
O. P. Heggie, and Jean Arthur do well. 

"Four Feathers, The" — Paramount. 
Silent. English soldier loses his nerve 
before Sudan war, but later goes to the 
jungles to redeem himself in the eyes 
of fiancee and friends. Authentic, 
thrilling sequences made in the wilds, 
around which picture is cleverly built. 
Fay Wray, Richard Arlen, Clive Brook, 
William Powell, Noah Beery, Philippe 
de Lacy. 

"Black Watch, The"— Fox. All dia- 
logue. Pictorially magnificent film 
about English soldier on the Afghan 
front, whose mission is to win love of 
girl leader of hill tribe. Stirring epi- 
sodes, but falls short of its ambitions. 
Victor McLaglen, Myrna Loy, David 
Rollins, Mitchell Lewis, Roy d'Arcy. 

"Cocoanuts, The" — Paramount. All 
dialogue. The Four Marx Brothers 
bring their capers and humor to the 
screen, without loss of fun or individu- 
ality. Slight musical comedy plot 
about a stolen necklace. Kay Francis, 
Cyril Ring, Oscar Shaw, and Mary 

"Broadway" — Universal. All dialogue. 
Big in point of sets, story reminiscent. 
Show girls, wise-cracking boys, boot- 
leggers in evening clothes, with gun 
play and love-making, all finally meet- 
ing suitable rewards. Old stuff made 

tolerable by embellishments. Thomas 
E. Jackson and Paul Porcasi of stage 
cast, Evelyn Brent, Glenn Tryon, Rob- 
ert Ellis, Leslie Fenton, Arthur Hous- 
man, Merna Kennedy. 

"Fox Movietone Follies of 1929"— 

Fox. All dialogue and song. Pagean- 
try of colorful revue, with wisp of 
story, and all the ingredients of a stage 
show, except a certain cleverness. 
Many well-known faces, including Sue 
Carol, David Rollins, Stepin Fetchit, 
Sharon Lynn. 

"Innocents of Paris" — Paramount. 
Dialogue and singing. Debut Maurice 
Chevalier, French stage star of unique 
personality due for merited success in 
another picture. Shoddy story of waif 
befriended by junkman and latter's rise 
to fame on stage. Astonishing per- 
formance by child, David Durand. Syl- 
via Beecher and Margaret Livingston. 

"Bridge of San Luis Rey, The" — 

Metro-Goldwyn. Part dialogue. Story 
of notable novel faithfully brought to 
screen, with reverence and pictorial 
beauty. Frustrated, unhappy lives of 
five characters end with collapse of an- 
cient Peruvian bridge. Lily Damita, 
Raquel Torres, Duncan Rinaldo, Don 
Alvarado, Emily Fitzroy, Henry B. 
Walthall, and Ernest Torrence. 

"Desert Song, The" — Warner. All 
dialogue and singing. First operetta to 
reach screen, with solos, duets, and 
choruses of stage representation. Silly 
story, but no fault of screen's telling 
of it, but whole thing too long, there- 
fore tedious. John Boles, Carlotta 
King, Louise Fazenda, Myrna Loy, 
John Miljan, and Johnny Arthur. 

"Not Quite Decent" — Fox. Part dia- 
logue. Hard-boiled night-club queen 
discovers long-lost daughter as chorus 
girl listening to temptations of villain, 
so she exposes serpent to girl in great, 
big scene of simulated drunkenness 
and toughness. Theatric, unconvinc- 
ing, but tolerably interesting. Louise 
Dresser, June Collyer, Paul Nicholson, 
and Allan Lane. 

"Show Boat" — Universal. Part dia- 
logue. Life aboard a river theater 
traced on a wide canvas. Stirring 
musical accompaniment, but well- 
known story does not gain in film ver- 
sion. Laura La Plante, Joseph Schild- 
kraut, Emily Fitzroy, Alma Rubens 

"His Captive Woman"— First Na- 
tional. Part dialogue. Dorothy 
Mackaill at her best, opposite Milton 
Sills. Silent episodes on charming 
island, where love blossoms. Murder 
trial with surprising sentence. Beau- 
tiful photography, excellent acting. 

"Through Different Eyes" — Fox. All 
dialogue. Courtroom drama uniquely 
developed in three episodes, ending 
with happy reunion of man and wife. 
Mary Duncan, Warner Baxter, Ed- 
mund Lowe. 

"Christina"— Fox. Silent. Quaint, 
pretty, though sirupy picture, with 
Janet Gaynor as Dutch girl, and 
Charles Morton her circus sweetheart. 
Troubled love, but certain to turn out 
right from the first. Rudolph Schild- 
kraut, Lucy Dorraine. 

Advertising Seci ion 


"This Is Heaven" — United Artists. 
Part dialogue. Your old friend, the 
story of the waitress who falls in love 
with a chauffeur — and he's a million- 
aire! Vilma Banky shorn of pretty 
costumes. James Hall, Fritzi Ridge- 
way, Lucien Littlefield, Lichard Tucker. 

"Lady of the Pavements" — United 
Artists. Old screen friends in new 
trappings, but familiar situations. A 
haughty countess, Jetta Goudal, 
spurned by her fiance, counters by 
making him fall in love with a cafe 
girl, Lupe Velez, picked up and made a 
lady overnight. The affair gets out 
of hand, the girl flees, and the lover 
follows, William Boyd is the maa 
Lupe sing3 and sings. 

"Noah's Ark" — Warner. A spectacle 
of more eye than ear interest, unsur- 
passed in its Deluge sccjie. Modern 
sequences culminating in a hopeless 
tangle in the World War, which fades 
to the biblical sequences, where the 
same characters appear. George 
O'Brien, Dolores Costello, Guinn Wil- 
liams, Noah Beery. 

"River, The"— Fox. Romantic, po- 
etic and slow picture of siren's un- 
tiring effort to win an innocent coun- 
try boy, who doesn't know what it's 
all about. Magnificent backgrounds of 
forest and stream and best acting of 
Charles Farrell's career. Mary Dun- 
can unusual as persevering siren finally 
sublimated by love. 



"Melody Lane"— Universal. Songs 
and dialogue. This feeble imitation of 
"The Singing Fool" is the vehicle for 
much crooning after the manner of a 
past age and an old-fashioned story. 
Kddie Leonard, Huntly Gordon, Joseph- 
ine Dunn. A baby girl is the inspira- 
tion of the singing. 

"Twin Beds"— First National. . All 
dialogue. A moth-eaten farce in which 
an inebriated stranger wanders into 
the bride's bedroom and things have to 

be explained before happiness sets in. 
Patsy Ruth Miller is charming as the 
bride. Jack Mulhall, Armand Kaliz, 
Gertrude Astor, Zasu Pitts. 

"Thunder"— Metro-Gold wyn. Silent. 
The trials of a veteran engineer who 
suffers from a schedule complex are 
portrayed by Lon Chaney. The climax 
comes with hauling a relief train to 
flood sufferers over a submerged track. 
Too much detail. James Murray line. 
Phyllis Haver and George Duryea. 

"Wheel of Life, The"— Paramount. 

All dialogue. Action revolves slowly, 
and by coincidence. Heavy efforts to 
dodge love in India, that hotbed of ro- 
mance, until a stray bullet paves the 
way. Richard Dix a very un-English 
Englishman, and Esther Ralston does 
not gain by speech. 

"Honky Tonk"— Warner. All dia- 
logue. A red-hot mamma of the night 
clubs suffers, because of frustrated 
mother love, but her haughty daughter 

finally acknowledges her. Sophie 
Tucker's famous blues. Lila Lee, 
Audrey Ferris, George Duryea, Mahlon 

"Drag" — First National. All dialogue. 
Richard Barthelmess at low ebb, in 
story about a country newspaper editor 
whose in-laws are a "drag" to his ca- 
reer, until he finally returns to the city 
and his first love. Alice Day, Lila Lee, 
Lucien Littlefield, and Tom Dugan. 

"Father and Son"— Columbia. All 
dialogue. Artificial plot and dialogue, 
the sweet, sweet palship of father and 
son all but wrecked by fortune-hunting 
stepmother. A homemade phonograph 
record saves the day. Jack Holt, 
Micky McBan, Dorothy Revier, Wheel- 
er Oakman. 

"Idle Rich, The"— Metro-Goldwyn. 
All dialogue. Story of conflict between 
young millionaire and his stenographer- 
wife's poor family, in realistic comedy. 
Poor recording and photography, but 
good acting. Bessie Love, Conrad Na- 
gel, Leila Hyams, Robert Ober, James 
Neil, Edythe Chapman, Paul Kruger, 
Kenneth Gibson. 

Information, Please 

Continued from page 102 

And he's married. Yes, he speaks with 
quite an accent, of course. The sours in 
"Innocents of Paris" arc "Louise," "Wait 
Till You see Ma Chtrie," "On Top of the 
World Alone," and "It's a Habit of Mine." 
Maurice is a Paramount player. Laura 
La Plante works for Universal. Laura 
was born in St. Louis, November 1, 1904. 
She entered pictures in 1919. Laura is 
Mrs. William A. Seiter. Davey Lee was 
born January 5, 1925; Ronald Colman, 
February 9, 1891 ; Marion Davies, January 
3, 1900; Eleanor Boardman, August 19, 
1899; Nils Asther, January 17, 1902; 
Buddy Rogers, August 13, 1904. Clara 
Bow, Dorothy Sebastian, Arthur Lake 
were born in 1905; Joan Crawford, Greta 
Garbo, Janet Gaynor in 1906; Alice White, 
Olive Borden in 1907. 

Curious.— To tell you what these fan 
clubs are for, you say? I'd like to know 
myself! They're for two reasons, I think 
— to make people write letters, and to 
make me work. Vilma Banky was born 
near Budapest, January 9, 1903. The 
character actress you mention is Fulalie 
Jensen. Myrna Loy was born in Helena, 

Montana, but doesn't say when. Billie 
Dove — real name Lillian Bohny — is 
twenty-six. She has dark hair and hazel 
eyes; is five feet five and weighs 115. Irvin 
Willat is her first and present husband. 
To join her fan club write to Consuelo 
Romero, 138 South Townsend Street, Los 
Angeles, or to Eva Dial, 151 Goliad Street, 
San Antonio. A list of all Billie's pictures 
would require more space than I could 
spare. Francis X. Bushman, Jr., is 
twenty-seven : six feet two in height. His 
only film that I know of since "Four Sons" 
is "Marlie the Killer,'' a Pathe dog picture. 
He is married to Beatrice Danti and they 
have a four-year-old daughter, Barbara. 

Flip. — You should go to work with the 
wheat cakes in the window of a white- 
front restaurant. Xana, in "Seventh 
Heaven," was played by Gladys Brock- 
well. Yes, Greta Garbo is to make a 
talkie, "Anna Christie,'' which calls for a 
Swedish accent. Lupe s lys she and Gary 
are really engaged. No, she has nevci 
been married before. Nils Asther's Amer- 
ican films are "Topsy and Eva." "Sorrell 
and Son," "The Blue Danube, - ' "Laugh, 

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( lown, Laugh," "Loves of an Actress," 
"Her Cardboard Lover," "Our Dancing 
Daughters," "Dream of Love," "Wild 
Orchids," and "The Single Standard." 
See P. K. 

Katherine Jernigan. — The principals 
in "The Magic Garden" were Margaret 
Morris, Raymond Keane, Joyce Coad, 
Philippe de Lacy, William V. Mong, 
Hedda Hopper, Paulette Duval. Sue 
Carol has announced her engagement to 
Nick Stuart. Alice White's next film has 
not vet been titled. Alice was born July 
25, 1907. Her weight is 105. Yes, Morton 
Downey sang in "Mother's Boy." Lois 
Moran was born in Pittsburgh, March 1, 
1909. She weighs 110 pounds. Clara 
Bow's new film is "Pointed Heels." It was 
just some sort of studio politics which 
made Dorothy Sebastian lose the lead in 
"The Tempest." 

Nosey Parker. — Nosey by choice, or 
was it born like that? Billie Burke is 
Mrs. Florenz Zicgfeld ; occasionally she 
comes out of retirement to star on the 
stage. Elsie Ferguson is also a stage 
star. I don't know whether they will 
ever remake "Forever" or "Smilin' 
Through." Nothing has been said of do- 
ing so. Lila Lee plays opposite Tom 
Meighan, in "The Argyle Case." 

A Redhead. — I thought all the red- 
heads were in Hollywood ! You'd think 
so, going about the studios. Marion 
Davies' supporting cast in "The Fair 
Coed" included John Mack Brown, Thelma 
Hill, Jane Winton. As to Jack Holt's 
double in "Submarine," try to get any 
company to admit a star has a double. 
You try. Yes, James Hill was the hero 
in "Senorita." Dix and Barthelmess are 
both thirty-four; Clara Bow is twenty- 

Respectfully Yours. — That's as far 
as you get with a signature. Pola Negri 
was divorced from her first husband, 
Count Dombski, before she came to Amer- 
ica. I can't say whether he is still liv- 
ing. It looks just now as if Pola will 
not return to the American screen. I 
don't know of any autobiography of hers 
for sale, though she is writing a book 
about herself now. 

Frances Carter.— Such a nice defter, 
Frances ! The leading lady in "From 
Headquarters" was Ethelyne Clair. John 
Boles did his own singing in "The Desert 
Song" — he was a musical comedy leading 
man before his screen career began. 
"Doronthy Vernon of Haddon Hall" was 
Mary Pickford's picture. "When Knight- 
hood Was in Flower" was Marion Davies' 
first big success. I can't find Colonel 
Brcreton mentioned in the cast of "Janice 
Meredith." In "Les Miserables" a French 
film, Jean Valjean was played by Gabriel 
Gabrio ; Cosette by Sandra Milowanoff; 
Marius by M. Rozet. "A Tale of Two 
Cities" was filmed years ago, with William 
Farnum. No, Harrison Ford hasn't ap- 
peared on the screen since "Three Week- 
ends." There is a fan club for him right 
there in Detroit — Elizabeth Sumner, 2357 
West Grand Boulevard. John Boles has 
no fan club as yet. John's next is "Rio 

Lucille. — Thanks for the "big bouquet" 
for The Oracle. I'm putting it in water. 
James Ford is a First National player. 
Jean Arthur was born in Plattsburgh, New 
York — she doesn't say when. Her real 
name is Gladys Greene. She was a com- 
mercial model in New York before going 
into pictures. She applied for work at 
the Fox Eastern studio, was given a screen 

Information, Please 

test, and signed. Raymond Hackett is 
married to Myra Hampton of the stage, 
and they have a new son, born in June. 
Raymond is a recent recruit to the talkies 
from the New York stage. Olive Borden 
is from Virginia and began her screen 
career in short subjects. 

Barbara Sheffield. — I'm sorry you 
don't have better luck getting your letters 
published in "What the Fans Think." The 
letters are quite impartially chosen, but of 
course we get many more than we have 
space to print. I'm sure I don't know 
what is Eleanor Garrison's magic charm 
for getting autographed photos and let- 
ters from the stars. Greta Nissen's real 
name is Greta Ruzt-Nissen. She was 
trained as a dancer and did such a charm- 
ing dance in the stage version of "Beggar 
on Hprseback," that she was engaged for 
the same role in the screen version. 
Hence her start in pictures. I never 
thought her screen appearance did her 
justice; perhaps that explains why she 
has never "clicked" with the fans. And 
talkies may make it even more difficult 
for her, since she has quite an accent. 
Her other important films were "Lucky 
Lady," "Lady of the Harem." "The Wan- 
derer," "Blonde and Brunette," "Fazil," 
and "Hell's Angels." 

H. P. M. — I suppose that means "hot 
afternoon." John Boles was born in Green- 
ville, Texas, October 28, 1900. He at- 
tended the University of Texas and stud- 
ied medicine. However, he changed his 
mind after graduation and went on the 
stage instead. He sang in musical com- 
edies and was playing the lead in "Kitty's 
Kisses" when Gloria Swanson saw him 
and sent for him to play in "The Loves of 
Sunya." So began his screen career, and 
of course the introduction of singing pic- 
tures has put him on top of the world. 
He is six feet one, weighs 180, and has 
gray-blue eyes and brown hair. He's mar- 
ried' and has a two-year-old daughter. 

A Rudy Fax. — As to wholis taking Val- 
entino's place, I don't think any one could. 
But Rudy Vallee, of radio fame — soon 
to go into pictures — has been compared to 
Valentino, because he achieved the same 
sort of sensational, overnight popularity. 

Jane W. Reid. — You were a little late, 
weren't you, in learning of David Powell's 
death? He died of pneumonia, April 16, 
1925. He was born in Scotland and played 
on the London stage before going on the 
screen. He appeared with Sir Herbert 
Tree, Ellen Terry, and Sir Johnston 
Forbes-Robertson. His films included, 
among others, "The Woman Under Oath," 
"Princess of New York," "Love's Boom- 
erang," "Spanish Jade," "Her Gilded 
Cage," "The Siren Call," "Missing Mil- 
lions," "Anna Ascends," "The Hero," 
"Outcast," "Glimpses of the Moon," and, 
as you say, "The Green Goddess." He was 
appearing in films for Paramount at the 
time of his death ; that would be the only 
place I know of to write for his picture. 
Major Cresp'm, in "The Green Goddess," 
was played by Harry T. Mo rev. 

Bobs. — Does that refer to your hair? 
Besides the films you mention, Leslie Fen- 
ton has played since "What Price Glory?" 
in "Going Crooked," "Gateway of the 
Moon," "First Kiss," "Girls Gone Wild," 
"Broadway," "The Man I Love," "Office 
Scandal," "A Dangerous Woman," "Paris 
Bound." I haven't the exact date of his 
stage appearance in "An American Trag- 
edy," but it was during 1927. His mar- 
riage to Marie Astaire took place Febru- 
ary 3, 1927, according to my records — but 

you tell me in another letter they never 
did get married. 

Jeannette Mexdro. — Sorry, this busi- 
ness of trading pictures through The Ora- 
cle is getting too involved to handle any 
longer. There's a Clivc Brook club ; head- 
quarters with Ethel Arnold, 25 Syhe Road, 
Hcaton Bradford, Yorkshire, England. 
To join Our Club fans, write to Julia 
David, 62 West Dedham Street, Boston. 
There are several Greta Garbo clubs ; 
for the one nearest you write to Elnora 
Rodenbaugh, Baird Avenue and Fourth 
Street, Barberton, Ohio. 

Helena Rickey. — Well, I am answer- 
ing as soon as possible, and I hope you 
weren't expecting any miracles. Buddy 
Rogers comes from Olathe, Kansas. He 
has brown eyes and black hair. And I 
don't even know his home address myself. 
Barry Norton, was born in Buenos Aires, 
Argentine, and is also brunet. 

Hearty Reynolds. — So you'd like to 
shake hands? All right, shake hands, here 
comes Hearty. Consider your hand 
shaken. I think the reason Barry Norton 
gets less publicity than Gary Cooper, or 
Nils Asther, is that he is not so popu- 
lar with the fans. It's fan interest that 
makes a star. Barry's next film is "The 
Command to Love." No, I don't like Nils 
Asther's love scenes better than Gilbert's, 
but naturally that is only personal opin- 
ion. Yes, Hearty, do write again. 

A Gish Fan. — You have reason to be 
disturbed. Lillian has been off the screen 
much too long. She was scheduled to play 
in "The Miracle Woman," but nothing 
has been done about that, and I don't 
know whether the film will ever be made. 
Lillian is American, born in Springfield, 
Ohio, October 14, 1896. She went on tin- 
stage when she was six years old and be- 
gan her screen career when she was six- 
teen. There seems to be no fan club in 
her honor. 

N. L. — Ruth Etting is a stage singer 
primarily, who has made a few short 
subjects for movies. She was born in 
David* City, Nebraska, about twenty-four 
years ago. Her family's name is Ettin- 
ger; she is of German descent. She is 
five feet three, weighs about 117, and is a 
blue-eyed blonde. She is married to Moc 

Miss Julia Hoight. — I'm perfectly 
willing to stand corrected, but this time 
I think I shall sit down. According to my 
cast of "Boy of the Streets," starring 
Johnny Walker, Patrick Gallagher was 
played by Charles Delaney. It's quite 
possible that the part was cut out in the 
showing you saw. There has been so much 
changing about in the cast of "The .Canary 
Murder Case," I don't know who's what 
by now. But I believe Jean Arthur is now 
to play the part Mary Brian was to 
have had. 

Marie Dennis. — By all means write 
again. I always welcome fans who ask 
easy questions. Johnny Mack Brown hails 
from Alabama; he was a football star at 
the State University there when he was 
"discovered" and given a role in the "Fair 
Coed." He was born on September 1, 
1904. I don't think he is married, and nei- 
ther is Lane Chandler. Lane is twenty- 
seven. Outside of the Paramount studio, 
Hollywood, California, I know of no per- 
sonal address for him. 

L. B. M — Outside of the recent Barthel- 
mess story you mentioned, Picture Play 
has not published an interview with him 
lately enough for the back issue to be 
available. Sorry. 

A Pola Negri Fan. — If you think it's 
too formal to address me as "Dear Sir," 
just call me "Skeezix" ; you're among 
friends. Yes, Pola Negri made a film 
called "Good and Naughty," released in 
June, 1926. So far, no one knows whom 
she will work for in Europe. Picture 
Play has many pictures of her in the is- 
sue for October, 1928. 

A Barry Norton- Fan. — Well, then. 
Your favorite was born on June 16, 1905. 
His new film is "Nobody's Children." 

Arline Riper. — I'll put your Billie 
Dove fan club on record, and refer her 
fans to you. See Maree Berry. 

A Bow Fan. — Does Clara Bow smoke 
cigarettes? I don't remember. But, any- 
how, I wouldn't tell on a girl ! Lucilla 
and Jola Mcndez are sisters. I think that 
Maria Al'ba's name was changed from 
Maria Casajuana, because the latter was 
too hard to pronounce. Gilda Gray was 
born in Krakow, Poland, Maria Alba 
somewhere in South America, Greta Nis- 
sen in Norway. Do you specialize in for- 
eign players ? 

Miss B. Foy.— r So you wouldn't mind 
having my job? You're easily pleased, I 
must say ! No one can say I don't have 
to work at it! William Desmond starred 
in "The Vanishing Rider," and, I think, 
played the title role, though the identity 
of the rider is not revealed in the cast. 
He is five feet eleven, weighs 170, and has 
black hair and blue eyes. Francis X. 
Bushman doesn't give his home address, 
but I am assured by stars themselves that 
just "Hollywood, California," reaches them. 
Sorry, but Harry Woods is not well 
enough known for me to have any infor- 
mation about him. If you saw "him in 
an FBO film, try him at that studio. 

Anne Gray. — More questions about 
Dick Arlen. That boy certainly ought to 
be starred, judging by his popularity, and 
I hope he is. Yes, I've met him, and 
there's no one in films I like better. He 
and Jobyna are a great pair. They gave 
a dinner party one night; the cook was 
ill, sojoby got the dinner herself. That's 
the kind of regular people thev are. I 
don't think Dick plays the piano. The 
Richard Arlen Fan Club has headquarters 
with Frank W. Leach, 4 North State 
Street, Concord, New Hampshire. 

Renee Wallington. — So I seem good- 
tempered and obliging, do I? Well, that's 
not hard, peeping out from the pages of 
a magazine. You should see me one of 
these cold mornings. No, indeed, Conrad 
Veidt has not gone back to Germany, but 
has just finished— at this writing— '"Erik 
the Great." Conrad was born in Berlin, 
in 1894. He is tall, with very dark-blue 
eyes. Besides those you mention his films 
include, "The Cabinet of Doctor Caligari," 
"Love Is Blind," "The Living Mask," 
"Ivan the Terrible," "The Flight in the 
Night," "Memoirs of Manolescu," "The 
Hands of Orlac." Harry Crocker was 
born in San Francisco — be doesn't say 
when. He is six feet tall, weighs 175, and 
has dark hair and eyes. Back numbers 
of Picture Play— for the past two years 
— may be obtained by sending twenty-five 
cents for each issue with your request, 
to this office. Malcolm H. Oettinger has 
never interviewed Ramon Novarro for 
Picture Play. 

Inquisitive. — I see you're interested in 
our tiny players. Little Jane La Verne 
was born in Redlands, California, in 1923 
— I don't know her birthday. She has 
brown hair and hazel eyes. She can be 
reached just now at the Universal studio. 
"Snookums" was born in August, 1924. 


Reginald Denny is thirty-three, Billie 
Dove twenty-five. No, Billie Dove has 
no children. As tn whether her husband is 
good looking, I wouldn't know about that. 
I've never met him. 

G. Dorax. — I think Conrad Nagel is 
coming back in vogue, now that talking 
pictures are with us. He was born in 
Keokuk, Iowa, March 16, 1897, and at- 
tended Highland Park College in Dcs 
Moines, where his father was dean of 
music. He has played in pictures about 
eight years, and before that was on the 

A Mary Philbin Fan. — You just sling 
questions about at a mile a minute, don't 
you? Mary Philbin was born on July 14, 
1904. She is five feet two and weighs 
96. I don't know her exact age at the 
time she won the beauty contest, but I 
suppose she was about sixteen. Since 
she was still in high school at the time, 
she probably did not finish school, but 
went to work in pictures when her op- 
portunity came. Yes, her engagement 
to Paul Kohner has been definitely an- 
nounced. Ricardo Cortez is at the TifTany- 
Stahl studio, Sunset Boulevard, Holly- 
wood, and so is Buster Collier. Cullen 
Landis free lances, but he can be reached 
at just Hollywood, California. 

Josie Bennett. — The last time I heard 
of Edith Storey — five or six years ago — 
she was living at Northport, Long Island, 
New York. That's all I know as to what 
has "become of her." 

Lillie. — You are interested in antiques, 
aren't you? I haven't the cast of "Daddy 
Long-legs"— that being very old — but I'm 
fairly certain Marshall Neilan was Mary 
Pickford's leading man. The Prince of 
Ithaca is not listed in the cast of "Helen 
of Troy." 

Eii.ene Huff.— "The Fourth Command- 
ment" does seem a little silly for the title 
of a film based on the fifth. But any one 
who can explain why pictures are titled 
as they are, would be clairvoyant — which 
I'm not. Perhaps whoever named that 
picture for Universal got his command- 
ments mixed. 

Gail Morton.— If I didn't pardon curi- 
osity — with the job I've got — what a sour 
life I'd lead! Lottie Pickford Forrest 
is Mary's sister, who married Allan For- 
rest. Her previous husband was George 
Rupp, and Mary— or, as you say, Gwen— 
Pickford Rupp is their daughter, there- 
fore, Mary's niece. I should say that five 
feet three is about the average height for 
screen actresses, and the average weight 
about one hundred and teiu Dan Dow- 
ling was the boy you mention in "Lilac 
Time." I don't know the story of "Yel- 
low Fingers," but, judging by the cast, I 
think May Foster, as Toinctte, and Ralph 
Ince, as Brute Shane, must be the two 
you ask about. Nils Asther's name is pro- I 
nounced Nills Aster; Meighan is Mee-an ; 
Menjou is Mon-ju; Renee Adoree is Ray- 
nay Ad-ore-ray. 

Mickey from Chicago. — I can always 
bear up under a barrage of questions like 
yours. See Phyllipe Jeanne La Rue 
and Fern McDougle. Dick Barthelmess 
has dark-brown hair and eyes. That's his I 
real name. He is married to Jessica 
Haines Sargent. 

Hotsy Totsy— Aren't you too danger- 
ous to have around? Audrey Ferris is five 
feet two; weight 103. Irene Rich won't 
tell her age. Alice Terry is thirty-one. 
You probably saw the interview with Nils 
Asther in last December's issue. See R. C. 
Zimmerman and Sheila. 


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Picture Play 

Volume XXXI 

Contents for October, 1929 

Number 2 

The entire contents of this magazine are protected by copyright, and must not be reprinted without the publishers' consent. 


What the Fans Think 

They say what they mean in our open forum. 

Buddy Knows Tricks 

An unusual photograph of Mr. Rogers, as a magician, with Nancy Carroll 

Get Your Man! William H. McKegg . 16 

The success slogan of Hollywood and what it has accomplished. 

Threefold Joy . 19 

Proof that blessings come in triplicate. 

What Her Father Paid for Stardom . 

Patsy Ruth Miller's parent shows his ledgers. 

Nutty, But Nice 

We mean Eddie Nugent 

Hysteria Hits Hollywood .... 

A bit of history past and present. 

Over the Teacups ..... 

Fanny the Fan has her say. 

The Luck of the Spanish .... 

The career of Bebe Daniels takes an upward curve. 

What's In a Name? 33 

Pictures of players who have assumed their mother's patronymic. 

Nils — As He Is . Margaret Reid 

Mr. Asther is truly revealed in an intimate close-up. 

Favorites of the Fans 

Eight full-page portraits in rotogravure of some you like best. 

Bob Moak . . .20 
Samuel Richard Mook . 22 
Helen Louise Walker . 24 
The Bystander . . 26 
Helen Starr Henifin . 30 


Just a Little Madcap 

A popular writer inspects Lupe Velez. 

There's Point to This! . 

Some stars prove it with their bows and arrows. 

An Army with Banners .... 

It's the legion of newcomers bent on succeeding. 

Bessie, Unlimited ..... 

Miss Love picks her own age. 

Teter Tans Rebellion 

Betty Bronson resolves to paddle her own canoe. 

A Passionate Pilgrim ..... 

. Malcolm H. Oettinger . 43 


. William H. McKegg . 46 


. Myrtle Gebhart . .51 
. Samuel Richard Mook . 53 

James Murray wrestles with life instead of conforming to it. 

Continued on the Second Page Following 

Monthly publication issued by Street & Smith Corporation, 79-89 Seventh Avenue, New York City. Ormond G. Smith. President: George C. Smith, Vice 
President and Treasurer; George C. Smith, .lr.. Vice President; Ormond V. Gould, Secretary. Copyright, 1929, by Street & Smith Corporation, New 
York. Copyright, 1929, by Street & Smith Corporation, Great Britain. Entered as Second-class Matter, March 6, 1916, at the Post Office at New York, 
N. Y.. under Act of Congress of March 3, 1879. Canadian subscription, $2.86. Foreign, $3.22. 




We do not hold ourselves responsible for the return of unsolicited manuscripts. 



Advertising Section 

Whole Show 

on the Talking. 
Singing Screen! 

With Paramount Short Features of 
the New Show World you see and 
hear The Whole Show on the Talk- 
ing, Singing Screen. And what a 
show it is! C A Paramount Talking 
Picture, rounded out with Para- 
mount Sound News, and talking, 
musical short features. Bringing 
the higgest stars of The New 
Show World — stage, screen, mu- 
sic, radio — to you. C Christie 
Talking Plays featuring out- 
standing stars of stage and 
screen. C Paramount Sound 
News — eyes and ears of a new 
world. £L Paramount Screen 
Songs — the whole audience 
sings! C Paramount Talk- 
artoons — humorous novel- 
ties — the cartoon figures 
actually talk! See and hear 
The Whole Show on the 
Screen — by Paramount 
— your guarantee of 
quality entertainment 
from the first mo- 
ment to the last! 

PA R AM Ol N 1 

of the 



in 'THE COCO V\l I-" 


and more 
'Produced by Harold Llrtyd Corp. 
Paramount Release 

"If it's a Paramount Picture 
it's the best show in town" 

Paramount W&ictur&s 


^j|jiii!i!i!!!ni!i!!iii!i!iii!iiiiiiiiiiiiiiiiiiiiiii!!i Contents Continued 

The Stroller 

Pungent comment on the vagaries of Hollywood. 

Have Foreigners a Chance Now? 

New and interesting aspects of an old question. 

For No Man's Land 

What the stars wear when away from masculine eyes. 

Hollywood High Lights .... 

News and gossip of the cinema colony. 

Sand Sport ....... 

Pictures of seaside pastimes. 

A Confidential Guide to Current Releases 

Timely tips on pictures now showing. 

The Screen in Review .... 

Our critic reports on the new films. 

It's Love He Wants ..... 

Ivan Lebedeff has had about everything else in life. 

Must a Star "Go Hollywood"? . 

Shining examples of conservatism say "No." 

The Mike Confesses All . 

Amusing contretemps in recording famous voices. 

Crumbs of Love ...... 

Left over hugs and kisses of the stars go to whom? 

Information, Please ..... 

Answers to readers' questions. 

Neville Reay . 
Myrtle Gebhart 


Edwin & Elza Schallert 64 


Helen Louise Walker 
Myrtle Gebhart 
Caroline Bell . 

The Picture Oracle 

. 69 
. 70 
. 74 
. 83 
. 88 
. 91 
. 102 


THERE is something that sets a star apart from other people, 
for the aura of the actor is hard to throw off. Then, too, there 
are the actions of the stars to be considered. Often they are so 
unlike those of persons in ordinary walks of life, that no one but a 
genius, self-styled or otherwise, would indulge in them. Frequently 
they are inspired by ego rather than any conscious infraction of the 
rules of good taste. Be that as it may, in the November PICTURE 
PLAY our redoubtable contributor, William H. McKegg, will dis- 
cuss the subject in his usual thorough fashion, and illustrate his con- 
tention that stars are not as you and I, with some startling examples 
of actions that speak louder than words. Don't miss this! It's too 
utterly amusing! 

9f ^w*-- 


id i 

Tke Singing Teackers' Paradise 

IT'S Hollywood just now! For virtually every player is seeking 
voice culture in an effort to improve his equipment for the talkies. 
Elza Schallert, who knows music and musicians as few among the 
picture colony do, has investigated the subject from every angle. In 
next month's PICTURE PLAY she will give the result of her sur- 
vey and reveal some amazing instances of gullibility among the 
stars, as well as some examples of splendid work done by competent 
teachers. Her story will be profusely illustrated, so by all means 
make a note to read it before the edition is exhausted. 

Skimming over the contents of the next number, we find an in- 
terview with David Rollins, his first in PICTURE PLAY, which 
will throw new light on the "typical American boy." And an intro- 
duction to Marguerite Churchill, the stage actress who made a hit in 
"The Valiant" and "Pleasure Crazed," is pleasantly accomplished. 
Margaret Reid brings to light new facts about William Powell, and 
Leila Hyams tells all about her early life, which wasn't at all like 
yours, my dears. Paul Page, Guinn Williams, and Fredric March 
are nominated for their first interviews and, all in all, next month's 
PICTURE PLAY will open new worlds to you. By all means take 
the trip! 



Advertising Section 

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Wkat trie Fans Tkink 

What a Star's Secretary Thinks. 

WHY are the players charging for their photos? 
Just because the average fan letter is not worth 
spending their own money on. 
As a secretary to a young player for over a year, I 
have had the opportunity of reading some fifty thousand 
fan letters. And here is a composite of what ninety- 
nine per cent write : 


: Please send me your photo. I saw 

one in a movie magazine and you are very handsome. 
I think I saw your last picture, and you were very 

"A friend of mine received your picture — send me 
one like it — and autograph it to me in your own hand, 
not your secretary. We are having a contest to see 
who can get the most photos. I have forty and want 
yours for my collection. 

"Can you get me in the movies?" (A personal de- 
scription follows.) 

"Write me a- nice, long letter in your own hand. Not 

'Love and kisses, 

"Any Fan." 

These letters are written on scratch paper, sometimes 
torn in many pieces. Half are in pencil, and one fourth 
of the words misspelled. Names of towns are chopped 
by abbreviations which would puzzle even a geographi- 
cal expert. And strangely enough, fans sending dimes 
and quarters have a penchant for giving no address 
at all. Figure that out ! 

Once in a great while — probably one out of fifty — a 
letter that is different, arrives. Written on nice paper, 
in a clear, readable hand, and joy be, the address is 
there ! This person receives a photo, money or no. 

Then there is the fan who would like to be the 
player's friend. They write by fits and starts around 
twice a month, and feel injured when not replied to 
immediately. We appreciate these fans, but they de- 
mand a great deal from their favorite. It is physically 
impossible to act and answer four hundred letters a 
day personally, and visit all the towns, extending cordial 
invitations, Give the actor and actress a chance! Fan 
mail isn't what it's cracked up to be, after the first 
five hundred. 

Next time you write mention work and not features, 

stories and not photo collections, and perhaps the players 
will relent. At least the secretaries will ! 

Los Angeles, California. One of Them. 

Are Fan Letters a Nuisance? 

Having read so many letters lately concerning photos 
from the stars, I thought perhaps some one would be 
interested in my collection. Very few of the players 
fail to answer in some way or other, and in many in- 
stances they are most generous. There was a time 
when practically all the Paramount and First National 
players sent out photos within a week of receiving a 
request. Lately they send out small cards stating that 
they will be pleased to> send the desired photo on receipt 
of the money asked. 

Enough has been said about this matter by others, and 
it is only repeating to say I, for one, think it is a great 
mistake. We do not write to them merely because there 
is nothing else to do, but because we really admire 
them, and want them to know what we think of their 
work. They seem to consider these notes a nuisance, 
and yet don't they gauge popularity by these so-called 
nuisances? Besides, we don't want our rooms all clut- 
tered up with the pictures of those we do not care for. 
Even though our favorites fail to answer, somehow 
we can't dislike them for it. 

I've certainly had my share of disappointment, but 
I've never given up hope and several times my patience 
has been rewarded. For example, Ramon Novarro and 
Joan Crawford. I had written them many, many times, 
but nothing ever came of it. Finally I decided I'd have 
one more try of it and wrote again. Ramon answered 
within two weeks, and sent two lovely photos. Joan 
answered within six weeks. I had written to Buster 
Collier about five times, but I guess I addressed him 
at the wrong studio. Well, after a while he also an- 
swered, and since then Fve received two pictures and 
two letters from him. 

Mary Frances Cooney. 

1012 Throop Street, 
Chicago, Illinois. 

Why the "Take-off" Craze? 

In two letters in a recent Picture Play, Clara Bow 
was censured for undress. Now why make Clara the 
goat when practically all Hollywood has gone crazy 
to take off? [Continued on page 10] 

(Presented by Carl Laemmle) 

_ ie last cword in C motion C/icture 
(bntertainment comes from Universal/ 

The ONE and ONLY 

If ever there was DRAMATIC DYNAMITE this is it— with a glorious 
musical background. For two years the stage play stood out as the 
greatest of the era. ..and NOW all the thunderous drama, the grace- 
ful romance, the thrilling situations, the magnetic climaxes of this 
wonderful stage play have been transferred to the screen with the 
original play dialog. With Glenn Tryon — Evelyn Brent — Merna Kennedy 
— T. E. Jackson — Otis Harlan — Robert Ellis — Paul Porcasi — Leslie Fenton 
—Betty Francisco — Arthur Housman. A Paul Fejos Production. 
Associate Producer, Carl Laemmle, Jr. 


RED-HOT youth aflame on the campus! A football game 
that will thrill you to the core! Moaning melodies put over 
by the University of California Glee Club! College chatter 
that will surprise you! Sorority parties, fraternity dances, 
roadhouse affairs that will amaze you. SEE and HEAR 
George Lewis, Dorothy Gulliver, Eddie Phillips, Churchill Ross, 
Hayden Stevenson and others of the original Collegians cast 
in the hottest film that ever sizzled on the screen. Directed 
COLLEGE PICTURE. Associate producer, Carl Laemmle, Jr. 


Pictured with all the movement, beauty, thrills and grandeur 

of the colorful floating theatres on the Mississippi River. That 

is Edna Ferber's romance of the ages transferred to the 

screen. SEE and HEAR Laura La Plante, Joseph Schildkraut, 

Otis Harlan, Alma Rubens, Emily Fitzroy, Jane La Verne. 

Including the musical hits from the Florenz Ziegfeld stage 

production. Directed, silent and in movietone, 

by Harry Pollard. 



Universal Pictures Corporation 

730 Fifth Ave., New York 


Continued from page 8 

Any movie magazine looks like an art- 
i-i models' convention. It's all boloney, 
if they say it's lor art's sake. It's for 
cheap publicity and sensationalism. It 
isn't doing one bit of good, either, but 
lowering Hollywood and placing the stars 
on the basis of common creatures. 

Even the pictures themselves are not 
free from this state of undress. One wit- 
i a scene of this one in scanties, or 
that one stripping, and the next one los- 
ing her bathing suit. Oh, you bet! The 
competition is keen. Each one doing her 
best to take off as much as the law per- 
mits, and go. id taste, the public,_ and a 
sense of modesty can go to the winds. 

You see a demure, innocent, little thing 
playing a pure, sweet heroine, and then 
you come across her picture in a maga- 
zine, in a flimsy bit, with all the sophisti- 
cation of the age in her eyes. I've watched 
them all. The giddy ones you know will 
do it ; the sensible ones you were sure 
would not; the shy, chaste maidens you 
were sure would blush even to think of 
it. They all flop, sooner or later. Dis- 
play ! Hollywood has gone nudity wild. 
But, please, not Mary Brian or June Coll- 
ver. If they succumb, I just couldn't 
bear it. Dalma Dale. 

San Francisco, California. 

Will Fans Stop Writing? 

One wonders just what the fans think 
of this new ruling at the studios that 
photos of the stars must be paid for. 
Personally, I am not at all in favor of 
it. If a reasonable price were asked for 
the photos, I think no fan would refuse 
to pay ; but the price for the pictures 
leaves one to think the studios have hit 
upon another way to make money. Many 
companies in the various fan publications 
advertise photographs of stars for twenty- 
five cents, and evidently make money. If 
these companies can make money, it stands 
to reason that the film companies will 
make more. Therefore, I wish to regis- 
ter my complaint as to the unjustness of 
their demands. Fans, what do you think 
of this matter? Speak up! 

May I ask the stars a question? What 
do you expect to take the place of the 
photographs which you have been sending 
in reply to letters? Surely you are not 
conceited enough to think that the fans 
will continue to write letters which they 
know will tie ignored. One of the great- 
est means by which the fan remains in- 
terested in the star is this letter writing. 
And vet it seems that producers have 
decided to put an end to it. Anyway, it 
will be interesting to watch the outcome 
of this affair. Leonard E. Eury. 

Boone, North Carolina. 

Fan Love Trampled. 

I will admit that Dolores del Rio is 
beautiful in a dusky, throbbing way, and 
is, to a degree, a talented actress. The 
choice of stories and her private affairs 
have done, and are doing, a great deal 
of harm to her prestige. 

A star's private life is, of course, her. 
own — with one exception. She must be 
careful to safeguard the ideals of her 
fans. Otherwise it is finally oblivion for 

Of course, there are those of us who 
still like her, but no longer love and 
admire her. We can't. She has broken 
and trampled the thing we idealized. 

Box 382, Holton, Kansas. Guila. 

A Retort, a Prophecy, and a 

I'm taking this opportunity to contra- 
dict a statement made by Jack Wester- 

What tke Fans Think 

velt in his letter in July Picture Play. 
He remarked that Buddy Rogers is only 
a passing fancy. It's beyond me to figure 
out such a remark, unless it was caused 
by jealousy. I've admired Buddy since 
"My Best Girl," but after seeing and hear- 
ing him in "Close Harmony," I'm all for 
him. He plays five musical instruments 
with ease, and sings perfectly. And he's 
positively so natural and at ease, one sim- 
ply lives through his pictures. He and 
Nancy Carroll are a perfect team and 
make Garbo and Gilbert look old and 
drab ! I might add, also, that Mr. Rogers 
has sent me two lovely pictures of him- 
self, autographed, free of charge. And 
in this day and age that seems a miracle. 
With all their thousands of dollars, most 
of the stars get big-hearted and send 
out a cute little card stating sizes of pic- 
tures and the cost ! And we fans make 
them. Think of it ! 

In this same letter by Jack Westervelt, 
he also states that Norma Talmadge and 
Thomas Meighan will be with us for 
years. Well, I hope they're still alive; 
but I, for one, certainly will not stand in 
line to see any pictures of Norma's. I 
admire Tom Meighan, and always have, 
but I really think he is past the hero stage. 
And surely, Jack, you aren't blind. 
Didn't you notice how old Miss Talmadge 
looked in "The Woman Disputed"? In 
my opinion, in two years' time, or less, 
Norma will be out of pictures. 

I agree with Yerda Colleen Bunch that 
we are having too many Mexican actresses 
thrust upon us. I have never favored 
Dolores del Rio, but after her husband's 
tragic death I have no interest in her 
whatever. Dolores is one of the highest- 
paid stars. Why is it? She has no looks 
whatever, and her acting is just average. 
I can name dozens who outshine her, but 
receive less pay. 

Another reason for downing the Mex- 
ican actresses. Look at Lupe Velez ! We 
read continually about her madcap and 
kittenish ways. In my opinion, Lupe 
craves attention and publicity ! She 
flaunts the man she's supposed to love. 
Lupe doesn't even know the meaning of 
love — except for herself. She shouts high 
and wide, "My Gary," "I love Gary," 
"Gary loves me," until it's beginning to 
dent Gary Cooper's own future. If only 
he would realize that ! He seems so re- 
served and bashful, and has that "what's- 
it-all-about" look on his face, and you 
simply couldn't put him wise. 

Mavis Daven. 
Vancouver, British Columbia. 

Letters From Nils Himself! 

Convinced that "What the Fans Think" 
is no battleground, by using it as such, I 
think we are abusing a privilege granted 
us. To abuse an actress or an actor is 
small, and I bow my head to my infrac- 
tion, my only plea being an overenthusi- 
astic desire to defend Nils Asther. I 
offer now my most sincere apology to 
Joan Crawford and to her loyal fans. 

My second reason for writing is my 
letters of appreciation from Mr. Asther 
himself. His letters are just the kind 
one would expect him to write. Charm- 
ing as he himself is, his letters are wholly 
appreciative, written only as one of his 
distinctive individuality would write. This 
idea comes to me — do fans judge Mr. 
Asther by the things they read, or the 
work he does? We should not be influ- 
enced by what other fans, or the papers, 

Numerous fans have written me asking 
how to get Mr. Asther to answer their 
letters and send photographs. It would 
be well for the fan mentally to place him- 

self in a star's position, and decide what 
he would do if he had to work as hard 
as the average star has to. 

If you are truly loyal fans, interested 
in Mr. Asther's work, and not just mak- 
ing a collection of photographs and auto- 
graphs, take his appreciation for granted, 
and do not expect him to spend his very 
few leisure hours writing letters. If you 
must have his photograph, write to his 
studio and, for the love of Mike, pay 
for it. Grayce M. Tether. 

13136 Indiana Avenue, Detroit, Mich- 

Why Make Joan Over? 

It makes me angry when I read about 
Joan Crawford having to make herself 
over in order to be acceptable at Pick- 
fair. Who are they? Did they always 
have what they have now? They should 
be ashamed to act so toward Joan. She 
is as good as the people at Pickfair any 

Is it just because she was on the stage.'' 
She had to earn her living, and it was 
honest work, wasn't it? She should be 
given all the more credit for making such 
rapid strides toward success and higher 
and better living. 

And societv in cinemaland is wonder- 
ing why Doug, Jr., and Joan went to 
New York to get married. Cant they 
go where they like for this never-to-be- 
forgotten event? Maybe it is true that 
the Eairbankses have closed the door of 
their home to them, and if they have, it 
is nothing to be proud of. 

Didn't Doug, Sr., marry the one he 
wanted? Now that his son picked his 
bride, I applaud his choice. Why doesn t 
he welcome her at his home? 

Mildred Rickl. 

2507 South Clinton Avenue, Berwyn, 

Big Words and Boyish Pranks. 

Listen, everybody! The greatest thing 
imaginable has happened, and I've got to 
tell you about it. I have at last received 
Lon Chaney's autograph— m spite of the 
fact that he is reluctant to send it out to 
his admirers! I had given up all hope 
of ever receiving his autograph, and the 
receipt of it came very close to giving 
me heart failure. 

Now for the question. Why do pub- 
licity men persist in trying to make us 
believe that everv one entering the movies 
represents the highest degree of intelli- 
gence' We know that some of our stars 
are not highly educated, yet in their con- 
fessions we find the publicity men putting 
words that we have to turn to a dictionary 
to understand. And, too, no matter what 
the star does, he is still the essence of all 
that is pure and noble 

If he acts silly and childish, they call 
it sportsmanship. Only a short time ago 
I read where one popular film player in- 
vited his interviewer to skip. From what 
the writer said, she wasn't exactly clever 
at skipping, but enjoyed tripping the full 
length of the hall with him. Here, where 
we^are gifted with an asylum, such a per- 
son would be put under observation. But 
mavbe I'm a crab. Bill Batty. 

74 Mill Street, Middletown, Connecticut. 

"Ladies" Are Still Preferred. 

In July Picture Play there was an 
article about Mav McAvoy not getting 
good breaks— all the good roles are given 
to other players, et cetera. Ann Sylves- 
ter, who wrote the article, says that "The 
Shopworn Angel" presented a role that 
would have made Miss McAvoy. I dis- 
agree with this statement, because May 
Continued on page 12 

Advertising Section 




Florenz Ziegfeld's Most Glorious Musical Com 
edy, Now Glorified for the Screen 



A Star-Sprayed Romance of Life and Love 
Beneath the Glitter of Broadway's Night Clubs 

At last the screen does justice to the 
name of Ziegfeld . . • The master 
producer's greatest musical comedy 
success, staged on a scale that 
dwarfs all other screen musical at- 
tractions in beauty and magnifi- 
cence... Exquisite color sequences, 
gorgeous girls, glittering costumes, 
Rio Rita's lilting melodies, and new, 
interpolated numbers, and the su- 
perb singing and playing of the 
title role by Bebe Daniels, make 
this production even greater than 
the original. 

The story of a Broadway Cinderella 
and a Prince, who was not her Prince 
Charming . . . Music that creeps into 
your heart and set9 your feet atap- 
ping . . . Sentiment, comedy, action, 
drama form the background for n 
characterization of unusual appeal 
by Betty Coinpson, aided and abet- 
ted by a Radio beauty chorus, Gus 
Arnheim's Cocoanut Grove Band, 
John Harrou, and a fast-cracking 
comedy trio, Jack Oakie, Ned Sparks 
and Joseph Cawthorn. 

Betty Compson, as the cabaret violin girl, scores 
the greatest triumph of her career in "Street Girl." 


"HIT THE DECK"-A lavish 
Radio Pictures presentation of 
Vincent Youman's round-the- 
world nautical musical drama, 
with the popular songhits/*Some- 
times I'm Happy," and "Halle- 

"HIGH RIVER"— A Herbert 
Brenon production from the 
play, "High River House."... 
A majestic story of conflicting 
wills and passions in the river- 
threatened levee country of the 

Elaborate production plans 
await the arrival of Rudy 
Vallee in Hollywood where 
he will make "The Vagabond 
Lover" for Radio Pictures. 


Subsidiary of the Radio Corporation 
of America 

Richard Dix, newest Rauio 
star, who is now completing 
the fir-t of his three marring 
vehicles for this organiza- 


An all-dancing, all-singing, all- 
-lar, all-novelty extravaganza. 
I be first annual screen revue, to 
l»r presented yearly by Radio 

Starring the inimitable Rudy 
Vallee and his ''Connecticut V an- 
kecs". . A romantic musical rom- 
cdv, with color, action, comedy 
and Rudy's "come hither" voice* 


Continued from page 10 
McAvoy could not and would not play the 
role of the heroine of that picture. The 
part was that of a sordid, depraved woman 
of the world, who would belong to any 
one for a price. That is not the kind of 
a role that would help a lady succeed, 
though it might have helped some other 

With more pictures like "Sentimental 
Tommy," "The Enchanted Cottage," "Tar- 
nish," "My Old Dutch," and "The Fire 
Brigade," her success is assured. The 
majority seem to prefer the vulgar type, 
such as Clara Bow, Alice White, and 
Nancy Carroll, but there are still a great 
many people who have a preference for 
ladies. M. J. McK. 

Providence, Rhode Island. 

"Sweet Foolishness." 
I heartily agree with M. June Jones 
about the rudeness of many letters, but 
otherwise I dinna ! Her bland, impersonal 
attitude as regards special favorites 
proves that she is not a real fan. The 
majority of us fans arc extremely warm- 
hearted and ardent ; and the adoration 
we give to our favorites is often a very 
beautiful emotion. Unlike Miss Jones, 
many of us have watched the career of 
our special star from its beginning, and 
I am very sure that when our gods have 
passed from the limelight, our hearts will 
still remember them. 

Certainly "let the stars enjoy their 
health and wealth while they may," and 
also let them have the pleasure of know- 
ing that the lovable among them are able 
to inspire love that is loyal and sincere, 
even though it be "sweet foolishness" ! 
Irene Borrowes. 
Brighton, England. 

To Mary Brian's Defense. 

"Just Me's" comments in May Picture 
Play handing Mary Brian a box of razz- 
berries — which, I understand, is an Ameri- 
can term of derision — have proved too 
much for my forbearance. "Just Me" 
states that Miss Brian cannot act. May 
I ask when she has seen her in a part 
which has given her any opportunities to 
show just what a fine little actress she 
really is? If such is the case, these pic- 
tures have never been released in Aus- 
tralia, as I make a point of seeing every 
picture Miss Brian appears in, and, be- 
lieve me, my devotion has caused me to 
sit through some very boring ones. 

In the three pictures she played oppo- 
site Richard Dix she had fairly decent 
parts, and I, for one, hope to have the 
pleasure of seeing these two acting to- 
gether again in the near future. In fact, 
I consider a good deal of the success of 
these pictures was due to Miss Brian; 
as far as I am concerned, they were. She 
can't act? Why, she has just been forg- 
ing steadily ahead all the time, getting bet- 
ter and better in each succeeding role, 
until to-day she is one of the most fin- 
ished actresses on the screen, apart from 
being one of the sweetest and loveliest. 

"Just Me" compares her, much to her 
detriment, with Nancy Carroll, Anita 
Page, Clara Bow, and Joan Crawford. I 
grant the first three can act, but don't 
forget they have always had good parts 
to make something of, with the exception 
of Clara, but then she is an exception to 
all rules. As for Miss Crawford, I beg 
to differ. "Our Dancing Daughters" is the 
only picture I have seen her in, and then 
she had a splendid part, good story, and 
capable cast. However, I am not in favor 
of running down stars who are not favor- 
ites of mine, as I realize they all have 
their admirers, and, speaking personally, 
some appeal to me a great deal more than 

Wkat tke Fans Think 

others. "Just Me" should not "martyr" 
herself by seeing Miss Brian's pictures. 
Melbourne, Australia. Fair Play. 

Broadwayites Not Welcome? 

It may be true that the moving-picture 
public, since the advent of the talkies, is 
becoming more interested in dramatic 
values and Broadway revues, and less in- 
terested in the silent picture and in the 
types of beauty it has been accustomed 
to gaze upon. But, 'believe me, if that is 
true. I'd like to know why "The Awaken- 
ing," for instance, played to packed 

This fan would prefer seeing a silent 
picture, such as the one above mentioned, 
with its two marvelous exponents of 
good looks, than any of the several re- 
cruits from Broadway in their talking 
versions of successful stage plays, and 
that goes for Jeanne Eagels, Ruth Chat- 
terton, and all the rest! 

Talking pictures are welcome, but the 
Broadwav invasion of Hollywood is not, 
and I, for one, hate to think of the young- 
sters of the screen being chased off by 
the older, more experienced players of 
the stage. 

I want to see youth and beauty, and 
our Hollvwood players can furnish those 
qualities 'better than any one else— and ■ 
dramatic ability, too. What more is nec- 
essary? Ellen W. White. 

5247 Florence Avenue, Philadelphia, 

The Sadie Thompson Accent. 

I am sorry to hear that Emil Jannings 
has gone back to Germany, possibly never 
to return. The talkies are directly re- 
sponsible for losing the best actor film- 
land ever had. Why chase Jannings away 
because he can't speak perfect, if any, 
English? We may never in our lifetime 
see another actor of Jannings' caliber. 
He always leaves me with the feeling that 
I've received my money's worth and some- 
thing besides. 

Jannings is not like most of our hand- 
some stars. He couldn't get by on his 
looks, and therefore he goes about his 
business and gives us the best acting of 
them all. It is almost unbelievable that 
he played both Nero and the old man in 
"The Last Laugh." I have never yet 
talked to a person who didn't think Emil 
Jannings great. As for most of the rest 
of the foreign stars, they need never come 
back, and I won't think they stayed long. 

I would rather see Jannings in silent 
pictures than listen to Jeanne Eagels com- 
bining a Sadie Thompson accent with an 
exaggerated Oxford accent, or whatever 
they call it, as she seemed to do in "The 
Letter." I liked the picture, however, 
and I think Miss Eagels is a fine actress, 
but I don't like her when her accent runs 
amuck. However, the witness-box scene 
was a wow. 

I have tried and tried to cultivate a 
taste for Greta Garbo and Clara Bow, 
and the result has been nil. If those two 
girls have sex appeal, I'll take hash. I 
know my sex appeal, too. Greta looks 
as if she's been warmed over, and seems 
to knock 'em dead with that _ hang-over 
look which I take to be anaemia. I long 
ago tired of seeing John Gilbert slobber 
over Garbo through six reels. When 
Clara Bow opens her mouth, her face 
seems to go into an eclipse. And, very 
confidentially, I might add that Clara 
seems to me to be a bit beefy for a girl 
supposed to have "It" galore. Which all 
goes to prove that, after all, the rest of 
the world is wrong and I'm right, I sup- 
pose. H. R. W. 

Regina, Saskatchewan. 

Those Undressed Poses. 

My complaint covers those who high- 
hat the public, those who overact their 
roles through sheer belief in their own 
superiority, and last, but not least, that 
vast number of actresses who have photos 
published in the magazines, in which they 
appear as nearly nude as the limit of de- 
cency will permit. In portraying a de- 
generate role on the sceen, we must allow 
a great deal for the story, but these same 
stories point out the fact that virtue and 
immodesty are not synonymous — quite the 
reverse — and when they pose in such a 
manner for photos, and expect us to be- 
lieve they lead exemplary lives, they be- 
little our intelligence. 

Naturally, their private lives should be 
of no concern to us; but, whether they 
believe it or not, the life they lead does 
show in their faces. This is regrettable, 
for it is this type of person who gets the 
most publicity, of the undesirable kind, 
and the casual reader receives the impres- 
sion that all movie people are of the same 
caliber. "Norske." 

St. Louis, Missouri. 

One Man's Meat 

It is a well-known fact that "one per- 
son's meat is another's poison," and, this 
being so, I think it a case of very bad 
taste to write about some of the film play- 
ers as Irene Gandreau has done. 

If Marcelinc Day's and Leila Hyams' 
types of beauty do not appeal to her, 
there is one thing for Miss Gandreau to 
do, namely, to avoid films in which either 
of these actresses is playing. Please do 
not think I am writing this letter because 
the actresses mentioned are particular fa- 
vorites of mine, but just from an outraged 
sense of decency, and I think that any- 
body who writes in the same strain is 
taking too much for granted. Do these 
people think that the letters they write 
will in any way detract from the popu- 
larity these players enjoy? Simply be- 
cause people pay money to see a film does 
not entitle them to tear the players to 

Another thing I notice is the way vari- 
ous interviewers and fans criticize the 
stars' way of living. Each actor and 
actress has his or her own life to lead, 
and I think it very wrong to criticize their 
particular way of living. We fans are 
taking a lot for granted when we cause 
such a shower of publicity that players 
have to break up friendships, as witness 
the case of Buddy Rogers and Claire 
Windsor. Stella Freeman. 

3 Marlow Flats, Calvert Avenue, E. 2, 
London, England. 

Speaking of Voices 

I just can't sit back and let these talk- 
ies get the better of me. I like them, 
yes indeed, but I would like them much 
better if I knew definitely that the actor 
or actress were speaking or singing his 
own lines. I've been disappointed twice, 
and deceived. Once was in Alice White's 
"Show Girl," when I really thought she 
was singing. The other was in Richard 
Barthelmess' "Wear}' River." Both these 
pictures widely advertised that we would 
have a chance to see and hear our favor- 
ites, and it was on the strength of that 
that I went to see the shows, as I had 
not heard favorably of the stories. 

And I am so disappointed again in two 
of the screen's best beloved, Mary Brian 
and Dolores Costello. I do not think 
Mary's enunciation is very clear. Her 
whole part of the picture was lost to me 
in "The Man I Love." Dolores Costello 
is so beautiful. She was wonderful in 
silent pictures, and one could enjoy her 

Ad\ ertising Section 


work, but in talkies her voice, although 
registering well,, seems affected and me- 
chanical. She has no warmth of feeling, 
nor depth of emotion, in her speaking. 
She fails to carry the audience with her. 

July Picture Play surely razzed the 
stars for neglecting to send photos for 
cpiarters. That is bad business, but 
of it, I am sure, is unintentional. But 
there is no excuse for neglecting people 
who send quarters to fan clubs. Quarters 
don't grow on trees, and fan clubs ought 
to be a little more careful about aci i pt 
ing quarters as fees, if they don't intend 
to keep up with the fan. I senl a quarter 
to the Joan Crawford Fan Club, in Cali- 
fornia, and never heard a word. Natu- 
rally, I distrust all fan clubs, and some 
of my ardent admiration for the star has 
dwindled, too. Can you blame me? 

Lorraine .Mason. 

112 North Sixth Street, Yineland, New 

Laurels for Two Scribes. 

After reading so many nice letters in 
Picture Play, I have decided to write 
one. While others write praising their 
favorite players, I give my laurels to two 
of Picture Play's most interesting writ- 
ers, Myrtle Gebhart and Helen Louise 
Walker. When I first found Picture 
Play the articles of Misses Gebhart and 
Walker appealed to me more than any 
others, so I wrote them at once in re- 
gard to their nice articles. I received 
replies with large, autographed photos. 
Waiting for the mail man is a joy if you 
are expecting letters from them. Since 
then I have received letters, photos, cards, 
et cetera, from them. Long may Pictire 
Play have such very interesting writers 
and courteous ladies on its staff! 

Jess Hoaglin. 

Pleasant Hill, Illinois. 

Where Are the Gish Fans? 

A few months ago in this magazine 
one of the readers contributed a letter 
to "What the Fans Think" concerning 
the lack of interest in Lillian Gish and 
her screen career. 

What is the cause of this indifference? 
I am sure all the fans haven't gone com- 
pletely mad with sex, jazz, and red-hot 
pictures. These modern-maidens pictures 
are lasting too long. They are full of 
bum gin, jazz, and sex, with not a leg 
to stand on. 

It is true, as S. W. says, when we arc 
offered an excellent picture like "The 
Wind," we pass it up for something with 
less sense and more hokum. Are our 
minds becoming moth-eaten, so that they 
cannot enjoy the excellent acting and di- 
rection of a picture with a thoroughly 
worth-while storj ? 

Lillian Gish is the present day genius 
of the screen, but her followers are few. 
because she doesn't appeal to the light- 
minded. She stands for more than just 
a movie actress. She is an artist that 
cannot be compared with the present-day 
so-called actresses of the screen. They 
are beneath her as the average quickie is 
to the superspecial of a big company. 

I wish the fans would state their rea- 
sons for the general indifference to Lil- 
lian at the present time. 

Sam J. Block. 

316 Rutland Road, Brooklyn, New 

Thanks, Gladys, Thanks. 
Picture Play is the only magazine in 
the world which devotes 50 much space 
to the fans, which is the best part of the 
magazine to me, except, perhaps, an inter- 
Continued on page 96 


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Advertising Section 




Whatever it is, it will be only second best 
after you've seen "DARK STREETS"! 

Double the thrills when Jack Mulhall talks 
ever screened — a history-making development 
you'll want to be among the first to see. 

And a story that hits and slashes at every 
known emotion, when fate pits brother against 
brother — with a tempting woman between! 

You'll wonder what you would do if you 
were Pat McGlone, a square cop if there ever 
was one, and had to "get" your twin brother 
for murder . . . 

Or what you'd do if you were Danny McGlone,- 
gangster, when the "mob" marks your own 
brother for death! 

"DARK STREETS" throws new light on the 
possibilities of Talking Pictures. See it for its 
exciting novelty, or for its engrossing drama 
— or both. But by all means, SEE IT! 

Willi J...L MulhalJ. 
A Frank Lloyd 
Production. Screen 
Version by Bradley 
King. Presented hy 






7 \ r 

It's New! 
It's Different! 
It's All-Talking! 

'ViUiphtmtf" t$ the 
regimtered trade* 
mark <jf the Vita* 



PICTURE PLAY, October, 1929 

Volume XXXI Number 2 

Photo by Eugene Robert RIcheo 

Again Nancy Carroll and Charles Rogers are paired off in "Illusion" as principals in a vaudeville act. and here 

Buddy conjures the image of Nancy out of the smoke from a jar of incense. Will wonders never 

cease? But of course there's more to the picture than that. Buddy is taken up by society, 

for one thing, and his love is spurned by an heiress when she discovers that he is an 

actor. But aren't there millions of fans who love Buddy because he is one? 


Photo by Ball 

Evelyn Brent's former husband established her box-office 

value in a series of minor pictures before she became a 

big-league star. 

GET your man ! 
That's the keystone of success in the movies ! The 
one method in Hollywood that never fails to help 
hoist the dazzling blonde or brunette to the heights of 
film fame ! 

Of course, one must not take this too literally. Surely 
you don't expect refined young ladies to go galloping round 
the town astride horses a la mounted police. No, their method is 
a less athletic one. No firearms are used. The only fire used in 
the campaign of capture comes from a pair of blazing eyes — at 
least, I believe eyes are the chief weapons. 

Facing such devastating odds, the man slowly submits, and from 
then on realizes that his true love must reap the rewards she de- 
serves. He sets out and works and works for her advancement 
on the screen. 

Now, I feel that these men get a bad deal in most cases. Of 
course the married ones — if they are still joined in holy wedlock — 
are happy with their charming wives. Marriage is reward enough. 

But some of them ought to get a little credit. At the same time, 
girls, you can learn how success comes to a good girl who keeps 
her eyes open. 

There are several ways of winning advancement on the 
screen. Why go into details about them ? Rather would I 
point out the sweeter side of the business — indicating the 
rich rewards that come to the little girl who "acts refined" 
and uses her brains. 

Nevertheless, here are the various ways which will insure 
a start in the movies. 



This is the success slogan of Hollywood 

Police. It is a motto that every ambitious 

heart if she would rival the notables 

have profited by the faith and efforts 

B? William 

1. If you are well known on the stage you 
will stand a good chance in the talkies. 

2. The newspapers are wonderful backing 
for all young girls. Have you a brother, 
father, uncle, or even a friend — an interested 
one — on a newspaper? If so, you will receive 
a warm welcome from the studios. Also the 
chance of a job. Of course the brother, father, 
uncle, or friend is expected to play you up in 
his paper, naming- the picture you appear in, 
and — of more importance — the studio with 
which you are connected. Quite a few nice 
girls in Hollywood have been "made" by the 
local press. 

3. Relationship with writers, directors, or 
any executive at a studio will help gain at 
least a partial start for you. 

4. Girls with deter- 
mined mothers have oc- 
casionally won a good 
break, but maternal par- 
ents are frequently a 
stumbling block because 
they're always in the 
way. When Mr. Golin- 
ski invites daughter to 
lunch mother is in a 
dilemma. If she refuses 
to let her daughter ac- 
cept, Mr. Golinski's feel- 
ings are hurt to such an 
extent that daughter's 
progress is endangered. 
The daughter usually ac- 
cepts the invitation — but 
mother is along, praising 
Mr. Golinski's kind in- 
terest in her little girl. 
Mothers are a nuisance. 
The last method, 
which is so vague that I 
will not describe it, but 
which is reputed to be 
commonly used in Hol- 
lywood, is possibly over- 
rated. They say a girl 
can get ahead i f she uses 
> her imagination and does 
not discourage the de- 
sires of Mr. Golinski 
and his brethren for her 

I know one girl, a nice 
young thing, who was put 
under contract by a studio 
over a year ago. The gen- 
Anita Page was brought to 
Hollywood by Harry Thaw's 
venture in films. 



as well as the Northwest Mounted 
aspirant for film fame should learn by 
mentioned in this article, all of whom 
of men who gave them their start. 

H. McKegg 

eral manager was charming to her. "Just 
come to me for anything you want," he as- 
sured her. The casting director also ottered 
his services. "You'll get the first good role 
that comes along." he promised. 

The girl had come to Hollywood from the 
East with her mother, two brothers, and a 
sister. Her salary was one hundred dollars 
a week. Weeks passed, but no roles ap- 
peared. When she went to the casting di- 
rector he made himself as gushing as Mr. 
Golinski. In fact, he didn't use any tact at 
all in gushing. The girl decided to complain 
to the kind-hearted general manager who had 
offered his aid in any difficulty. But she 
could not sec him, though her attempts were 

Silence followed. After six months the 
girl was dismissed, with- 
out ever having played a 
single role. A couple of 
days before her contract 
expired she accidentally 
came face to face with 
the general manager. 
"Well," he declared, "so 
here's the only stuck-up 
girl in Hollywood !" 

Xow that wasn't a nice 
thing to say. It was an 
exaggeration on his part. 
You know that. All the 
same, the girl was in- 
formed that she would 
have had leads had she 
not been so upstage. 

Yet let us contemplate 
the brighter side of film 
life — with its happy end- 
ing of honor and fame 
and sometimes marriage. 

Anita Page is one of 
the best bets among last 
year's "discoveries." Yet 
she must ever be thank- 
ful to Harry Thaw for 
his interest in her. Mr. 
Thaw placed Anita and 
another girl in a couple 
of films in Xew York, 
which, I believe, were 
never released. Coming 
to Hollywood, he intro- 
duced his "finds" to the 
colony. The other girl 

■ ■ 


Esther Ralston was 

wasted on the desert air 

until George Webb fell 

in love with her. 



Thoto by KidR'O 

Photo by Fiypr 

Billie Dove remained in beautiful obscurity until she married Irvin 
Willat, an influential director. 

disappeared from view. Anita remained with her mother and 
younger brother and was placed under contract by Metro-Gold- 
wyn. But we must remember — would she have got there without 
Mr. Thaw's kindly discovery in the first place? 

Billie Dove has been in pictures for ten years. Billie came from 
the "Follies" with large eyes and a shapely figure. Her beauty 
flashed from the screen, but her acting left much to be desired. 
Billie lived quietly with her mother and brother. She scorned 
all the obvious methods of advancement. Thus when Irvin Willat, 
the director, saw her he became her slave. Mr. Willat decided that 
Miss Dove should be among the stars. From program pictures 
at the Fox studio — before Winfield Sheehan arrived to make it 
one of the leaders — Billie went to Paramount, where Mr. Willat 
was a director. When lie went from there to Firsl National 
Billie went, too, and became a star. To-day Miss Dove owes her 
success — as she will, T feel sure, admit — to her husband's devotion. 

Laura La Plante will also do likewise in tribute to her husband. 
William Seiter. Laura played in one and two-reel comedies at 
the small studios long enough, and eventually at Universal. Other 
pictures came her way, but few fans knew her. When Laura 
flashed her dental smile and dazzling eyes on Mr. Seiter she cap- 
tured him as surely as any Mountie ever caught and held hid man. 
Mr. Seiter saw capabilities in Laura and she got the breaks. Her 
position as a Universal star received impetus from her husband's 
zeal in her cause. 

Lina Basquette was dancing merrily in the "Follies" when the 
late Sam Warner noticed her. Mr. Warner was helpless under 
her disturbing glances and gave in. His newly found joy did not 

Get Tour Man! 

Photo by Freullch 

The turning point in Laura La 

Plante's career came when she met 

William Seiter, the director. 

last long, however, for he died 
soon after their marriage. But 
Lina bravely worked on, regard- 
less of her husband's death, in 
Adolphe Menjou's "Serenade." 
Personal feelings and emotions 
must be submerged at times by the 
ambitious. Soon after that Lina 
was engaged for the heroine of 
"The Godless Girl." And after 
that she married Peyerell Marley, 
Cecil DeMille's chief camera man. 
George Webb was snared by 
love as soon as he laid eyes on the 
blond Esther Ralston. Esther 
worked in pictures, but never got 
anywhere. Year after year saw 
her no nearer the position her 
beauty deserved. But George 
changed all that. Working for 
Paramount, he . saw to it that 
Esther was noticed. And noticed 
she was. A role in "Peter Pan" 
was given to ber and from then 
on Esther's climb to fame and 
stardom was assured. But let us 
not forget George's first aid. He 
is her manager as well as her hus- 

Nor let us skip over the substantial stepping-stone 
placed by John Barrymore in the faltering path of 
lovely Dolores Costello. Dolores and her sister, Hel- 
ene, and their mother came to Hollywood and got noth- 
ing but stray extra work. One day while casting was 
going on for "The Sea Beast," John saw Dolores and 
felt himself caught in a whirlpool of emotions inspired 
by his admiration of her exquisite beauty. 

Although a leading lady had already been chosen 
and placed under contract — Priscilla Bonner, to be ex- 
act — she was dismissed. But Mr. Barrymore was 
decent. He ordered the exact amount of money paid 
her she would have received had she appeared in his 
picture. But what is money compared to success ? 

Nobody gave the dismissed leading lady a thought, 
for Dolores was gorgeous opposite the great John. He, 
too, was enchained by Miss Costello's charm and beauty 
and, as every one knows, as soon as divorce proceed- 
ings freed Mr. Barrymore of his second wife, Dolores 
became his third. 

Evelyn Brent had tough luck before she earned her 
present position. Gaining no foothold in America, she 
went to Europe. A few pictures were made in Eng- 
land. Then she was engaged for "The Spanish Jade," 
a Paramount picture filmed in Spain. It was a break 
for Evelyn, but not a very big one and it got her no- 

Coming to Hollywood, she met Bernie Fineman, at 
that time general manager of what was then the 
F. B. O. studio. Mr. Fineman married Evelyn and 

placed her in a series of 
crook pictures which 
gave the Brent her box- 
office value. When Ber- 
nie went to Paramount, 
Evelyn was signed too 
and had a better chance 
to reveal her talents. 
To-day she is one of the 
foremost actresses on the 
screen. She is divorced 
from Bernie and is now 
married to Harry Ed- 
wards, but she does not 
begrudge Bernie a bit of 
grateful praise. How 
could she? 

Oh, we can snigger at 
marriage and the love of 
a devoted husband for 
his charming wife, but 
these shining examples 
prove my contention that 
the wise and fortunate 
little girl gets her best 
breaks when she gets 
her man and holds him 
in marriage. 

And there is no more 
absorbing business for a 
husband who knows the 
ins and outs of Holly- 
wood, than to further 
the career of his wife. 
Her success is a tribute 
to his sagacity, and skill 
as a politician. 

John Barrymore placed 

a firm stepping-stone in 

the faltering path of 

Dolores Costello. 


Threefold Joy 

So say these parents of blessings 
in triplicate. 

Bre therton, 
the director, 
above, lias un- 
usual names 
in his family 
— Barbara 
A n n , David 
Legrce, and 
Priidcn c c 

Fred Niblo, the director, above, with 
Loris — who resembles her mother, 
Enid Bennett — Peter, and Judith Beryl. 

Agnes Christine Johnston, the scenarist, 

below, nearly bowled over by Mitchell, 
Ruth, and Frank. 

H. B. Warner, 

left, and Joan, 

Harry, Jr., and 


Pat and Mrs. 
O/Malley, be- 
low, and their 

famous colleens 
Sheila, Eileen, 
and Mary Kath- 


From the moment Patsy Ruth Miller played in Nazimova's 
"Camille," the movie gates opened to her. 

DOTING parents who are raising their offspring 
for stardom in the movies might do well to tear 
a page or two from the diary of Patsy Ruth Mil- 
ler's dad. 

There they would discover, at first glance, that the 
life of a screen actor or actress is not all jade bathtubs, 
Rolls-Royces and broiled canary tongues, served with 
the compliments of the producers. 

And before reading much further, Papa and Mamma 
Hopeful probably would decide that little Agnes is better 
suited for a career as the crossroads dressmaker, despite 
the fact that her curls are duplicates of those that once 
adorned the head of Mary Pickford. Or that Harold, 
aged ten, and developing a closer resemblance to Charlie 
Chaplin each passing day, faces broader opportunity as 
a clerk in the home-town bank. 

The savants tell us that experience is the greatest of 
all teachers, and Patsy Ruth Miller's father has been 
through the mill, insofar as things Hollywood are con- 
cerned. Therefore, it might be well to listen to his ad- 
vice when he says, "Don't come to Hollywood deter- 
mined to lay siege to studio gates, unless you have : 

"Camera features and personality, plus plenty of 


"A natural inclination for things theatrical. 

"Not less than $25,000 that you are willing to gamble 
against your future." 

And Dad Miller knows whereof he speaks. He in- 
vested more than $20,000 in Patsy Ruth during the two 
years before she got a toe hold in the films and was 
earning enough to pay her own way. 

Dawn of the year 1920 found Oscar Miller firmly en- 
trenched as a prosperous and 
popular citizen of St. Louis, 

His broom handle and wood 
novelty manufacturing concern 
was making him wealthy, 

Wkat Her Fatker 

When Oscar Miller undertook the job of 

he went about it as a business man with 

the record of his expen 

B$ Bob 

which was quite a change from the meager salary 
he had earned as a newspaper man a decade be- 
fore. He was prominent in politics and a leader 
in St. Louis civic affairs. 

His home life was ideal. Five servants relieved 
Mrs. Miller of the burden of maintaining the 
house, so that she might devote her time and atten- 
tion to her children, Patsy Ruth, then attending 
Mary Institute for Girls, and Winston, who was 
enrolled in a private school for boys. 

But Oscar Miller had worked hard for success, 
and now that it had come to him, he felt he was 
entitled to a vacation. Father, mother, and the two 
youngsters went into family council, and the vote 
for southern California as their choice of play- 
grounds was unanimous. 

Dad wanted to play golf over the famous courses 
where international matches had been staged. 

Mrs. Miller welcomed the idea of sunshine and 
warmth at the height of a St. Louis winter. 

Winston looked forward to swimming in the 
salty Pacific. 

Patsy Ruth, too, had her reasons, but she kept 
them to herself. All of which should convince one that 
she is a brainy girl. Had she revealed what was upper- 
most in her mind, dad and mother would have changed 
the votes in favor of Florida. 

For be it known Patsy Ruth Miller had secret ambi- 
tions for the movies 
— ambitions she di- 
vulged to her par- 
ents only after they 
were settled aboard 
the train speeding 
toward Hollywood. 

The Miller family 
didn't exactly pour 
cold water on the 
dreams of their only 
daughter. On 
the other 
hand, it could 
not be said in 
truth that they 

they did ne- 
gotiate ways 
and means of 

One of Patsy 
Ruth's first 
poses when she 
came to Holly- 
wood nine years 


Paid for Stardom 

building a career for his daughter, Patsy Ruth, 
something to sell. Now, for the first time, 
ditures is made public. 


inspecting the studios when they reached the film 
center, for they themselves were somewhat inter- 
ested in how, where, and why motion pictures wire 
made. Like so many of their neighbors, they had 
been semi weekly patrons of the celluloid palaces 
in the Missouri metropolis. 

The old Metro studio was the first to he visited. 
There some one — he may have been a prop hoy, 
for all Mr. Miller knows — volunteered the infor- 
mation that Patsy Ruth was an ideal type for the 
silver sheet. 

That settled the matter in the mind of that young 
lady. 1 [owever, her parents still refused to release 
their enthusiasm. 

But a similar remark was forthcoming in the 
old Goldwyn studio and, later, for a third time 
word reached them while they watched the cam- 
eras grind on the Paramount lot. 

Finally it reached the point where the major 
portion of the days and evenings of the Miller 
family were spent in discussion of the possibilities. 
Dad was firm. They would return to St. Louis at 
the end of their vacation and forget this nonsense. 
Mrs. Miller, however, was weakening under the 
pleas of her children. One dip in the ocean had 
convinced young Winston that California was next 
door to heaven. 

With the ballots standing three to one, Oscar 
Miller, business man, conceded defeat. 

He returned to St. Louis, sold his manufactur- 
ing interests, his home, his automobiles, and re- 
turned to California. 

Four weeks from the date of their first having set foot 
in Los Angeles the Miller family was established in a 
manor in Beverly Hills. 

This fair maid is Patsy Ruth at seventeen months. 


Isn't she 

Then Dad Miller got 
down to the task of taking 
Patsy Ruth, a mere kic 

Patsy Ruth's father spent 

more than $20,000 on her 

career before she began to 

pay her own way. 

over the hurdles that pointed to the realization of her 

dreams. Remember that Oscar Miller was a business 

man. He went about his new job in a 

businesslike maimer. In other words, 

he used his head. 

The matter of selling Patsy Ruth was 
not entirely unlike selling broom handles 
and wooden novelties. The latter had 
been accomplished by making the ac- 
quaintance of heads of concerns that 
purchased such things. Just so in the 
new field. He met film executives. He 
entertained them. 

Knowing well that any article is more 
readily salable if wrapped in an attrac- 
tive package, he had Mrs. Miller triple 
their daughter's already ample ward- 

lie spent money to publicize i 
Ruth and to exploit her otherwise, just 
as he had done with the broom handles. 

I te ha«l screen tests made. 

He spent his working days interview- 
ing studio bosses, from presidents down 
isistant directors. 

Patsy Ruth played her first extra role 
in a picture two months after her father 
had assumed her management. She 
I i mtinui il nn page 1 12 


Photo by Louise 

Eddie Nugent says that he will have played his favorite ro 
he is cast as an offstage voice, because parts are not made 

A SAFFRON sky overshot with puffy, little clouds, 
reflecting the tints of the setting sun, long rays 
of which streamed through the windows of the 
M.-G.-M. publicity offices. Five or ten miles away the 
waves of the Pacific slapped lazily against the tempting 
sands of Santa Monica Beach. Across from me sat 
Eddie Nugent, his feet largely crossed upon the solid 
pine desk of the head of the publicity department. 

At least, he had been there a few seconds before, be- 
cause I had been talking to him. As the typewriter 
clicked at the rate of a word a minute, I was rudely in- 
terrupted by him. 

''Hey !" he said, looking impudently over my shoulder 
at what I had written, "that stuff's out. What do you 
think I am, a literary cream-puff or something?" 

"What's the matter with that?" I demanded. "I think 
it's a very lovely introduction to an interview." 

"Yeah? Well, it ain't!" 

"Aren't," I protested. 

"Well, it aren't then. I'm not one to argue over 
prepositions, but that bilge ain't going to press except 
over my dead body. See ?" 

"Look here, you can't talk to me like that. Do you 
know who I am?" 

Nutty, But 

Even the seriousness of his first interview 

irrepressible urge to be the gag man he 

Nor, for that matter, can it 

By Samuel 

"Why? Have you forgotten who you are?" 
"Write the story yourself," I muttered sul- 
kily. "And, say! Do I get fed to-night, or 

He glared at me in silence during the half 
hour ride to his home — address furnished on 
request — and presently we faced each other 
across the dinner table. 

"I was born early in life," he began. 
"You don't have to tell me — the results 
speak for themselves." 

" — Of poor but honest parents, who are still 
poor but honest, although the old man works 
nights sometimes." 

"Whaddaya mean, 'still poor'? Ain't you 
good to your parents?" 

"Amn't," he corrected, and continued. "They 
were stage people for twelve generations back 
on both sides — or maybe it's thirteen. I'm 
unlucky enough for that. I was raised in a 
Pullman, so to speak, and got my education, if 
any, here, there, and everywhere. Part of this 
education was a job as chorus singer at the 
Metropolitan Opera House in New York. 
And what's more," he continued as we lingered 
over the coffee, "I made more as a chorus 
singer than I'm making to-day. Once I played 
the part of an angel in 'Parsifal.' That was 
the first time I ever went on location." 

"Yes, I was located up in the flies. But 

there was something incongruous about my 

being associated with the heavenly bodies and 

either they or the prop man rebelled, because 

one night they pulled the wrong wire and I 

fell like Lucifer. 

"When I was finally educated I went to work as an 

office boy. But every time I got a chance I'd go back 

on the stage until I was broke, and then I'd go back to 

work again." 

"Sort of chicken-one-day-feathers-the-next kind of ex- 
istence, eh?" 

"Yeah. Horse feathers. Well, presently I landed in 
Hollywood. They all do." 
"Who do?" I asked. 

"Hoodoo is right," said Eddie. "That thirteen again. 
I got in at five thirteen on the thirteenth of August. The 
next day instead of becoming an actor, what do you 
'spose happened ?" 

"I'll bite — what happened?" 

"I went to work as a doorman at Grauman's Million 
Dollar Theater directing people from the box office to 
the door of the theater. Personally, I think my talent 
was wasted on that job, but there have been differences 
of opinion on the subject. Eventually, my ability was 
rewarded and I was promoted to the prologue. Ramon 
Novarro — Samaniegos he was then — was also on the 
bill and we shared the same dressing room. 

"After a time I saw all my friends — Nick Stuart, Ra- 
mon, Charlie Farrell, and George O'Brien beginning to 

le when 




cannot quell Eddie Nugent's 
was before he became an actor, 
quench his charm. 

Richard Mook 

achieve recognition — note the pur- 
ity of my English, please — and I 
broke the news to Mr. Grauman 
that somehow his prologues would 

have to struggle along without me. 
I le didn't seem upset over the ca- 
tastrophe, hut we'll let that pass. 

"For some unknown reason, the 
success I had attained in the pro- 
logue hadn't impressed people the 
way it had me and, to my surprise, 
I didn't find casting directors and 
agents besieging me the morning 
after I left the theater. They 
didn't come the following morn- 
ing, either, and after a time I got tired of going hungry, 
so I started designing clay baskets. Say, what're you 
grinning at? 

"Presently Fox realized that a brilliant gag man was 
being wasted, and I started to work again. At least I 
was put on the pay roll. In quick succession followed 
prop man, double, and then I was put on the swing 
gang at the M.-G.-M. studio. 

"The swing gang is a gang that is swung from one 
set to another to dress it. All the prop men and assistant 
prop men who are not working on a production are put 
on this swing gang, as it cuts down the number of por- 
ters needed round a studio. As a new film goes into pro- 
duction a prop man and his assistant are taken off the 

Eddie Nugent was once an office 
boy, but didn't stick at it long. 

As Mr. Mook and M 
ous home, a caller 

r. Nugent lingered over their coffee in the actor's sumptu- 
paused to say, "Always the leading man, Eddie — don't 
forget yourself." 

gang, and as another film is finished those who worked 
on that film are put into the swing gang." 

"Ah. Then you were an assistant prop man at that 

"I was not. Assistant prop man would have been a 
big step forward. Listen closely and I'll try to make 
clear to you just what my position was. Do you want 
to know what's considered the lowest form of animal 
life around a studio? 
"No, I don't." 

"All right, then, I'll tell you. It's an assistant prop 
man. And I wasn't even one of those, if you know what 
I mean. However, you know the old saying about not 
being able to hide your light under a bushel." 

"Bushel. After a time " 

"How long a time?" 

"Oh, a certain time. I was promoted to assistant prop 
man and later to prop man. We were working on 'Mixed 
Marriages' on location and I hurt my 
back very badly. I was laid up for 
quite a while. Couldn't stand up 
straight and had to crawl around on 
my hands and knees. By the time 
you've done that for a week it be- 
gins to get old, especially if you're 
alone in a hotel room in a strange 
town, and maybe only one of the boys 
a day comes up to see you. because 
who in hell cares anything about a prop 
man ?" 

Never having been a pro]) man I couldn't 
answer, so. after a disgusted look, he con- 
tinued r "I had plenty of time for reflection, so 
I started working at it. 'Here I've been eight 
years in this damned game and where am I 
getting, if at all?' The answer was 'Nowhere 
and you're getting there fast.' 'So.' sez I, 
'when we get back to the studio I'm gonna 

"I was walking with a cane, because I 
couldn't stand up by myself, and at five thir- 
teen on the afternoon of August thirteenth — 
eight years to the minute after I landed in Hol- 
Continucd on page 111 


Hysteria Hits Hollywood 

An epidemic of shivers followed the advent of the talkies, just as every real or imaginary crisis in the 

past has inspired a chorus of nervous moans. 

Bj Helen Louise Walker 

Illustrated by Lui Trugo 


HOLLYWOOD is in a state of confusion. Yes, 
yes, yes ! It is, indeed ! People are scuttling and 
scurrying here and there — not going anywhere, 
to be sure, but just scuttling to relieve tense nerves. 
Folks are losing jobs, signing contracts, rushing from 
studio to studio, like so many frightened ants.- 

All this, as you may have guessed, is on account of 
talking pictures. 

Everybody shivers. Actors of the silent screen shiver 
for fear their voices won't take, and actors from the 
stage shudder for fear their faces won't ditto. Direc- 
tors wake up in the night, seeing horrid visions of yawn- 
ing microphones, and title 
writers wander about, plain- 
tively demanding to know 
what is going to become of 

Nobody is exempt. Com- 
panies merge and remerge 
— with the consequence that 
some of the biggest execu- 
tives tremble just as vio- 
lently for their half-mil- 
lion-a-year jobs as do the 
gag men for two-reel, silent 

Rumors scatter across the 
lots to reappear that night 
at Henry's, grown to in- 
credible proportions. 

Each and every member 
of the colony earnestly be- 
lieves that the individual 
volcano upon which he, per- 
sonally, is resting at the 
moment is the most disas- 
trous one of all. 

And boy ! Do they really 
moan? Hollywood has the most accomplished moaners 
in all the world ! 

Well, all I can say is, they ought to be good. They 
have been moaning just like this for years and years. 
And as for the confusion which is receiving so much at- 
tention in the public prints everywhere, Hollywood has 
been in some such state or other as far back as the very 
oldest citizen, whom it would be unkind to name, can 

They take things so seriously. 

To begin with fairly recent events, there was the time 
when Hollywood became so thoroughly and uncompro- 
misingly pure. That was when the Arbuckle scandal 
and the Taylor murder got into the papers, with tragic 

Directors are having nightmares in which yawning 
mikes float around their heads. 

results to the players who were so unfortunate as to 
have their names mentioned in connection with them. 

Actors discovered that, while the moral American 
public likes to imagine that its idols go in for a little 
simple sinning in private, it will not tolerate their get- 
ting into the newspapers in such a light. Women's 
clubs, purity leagues, and so on, who until then had been 
dismissed as a lot of busybodies who didn't matter, were 
discovered to possess dire powers in the way of banning 
pictures and ruining players' value at the box office. 

Whereupon Hollywood abruptly doffed its pose of 
bohemianism, and press agents scurried to the newspa- 
pers with the disappointing 
information that motion- 
picture actors were the 
most sedate people in the 
world, my dear ! 

Every actor bought a 
book, and had his picture 
taken with it, sitting by his 
fireplace, smoking a pipe — 
a pipe is such a cozy ad- 
junct, somehow — with a 
large, woolly dog sleeping 
at his feet, thereby proving, 
presumably, not only that 
he knew how to read, but 
also that he loved animals. 
The stars went in for 
family groups, and every 
periodical in the country 
was flooded with pictures 
of papa and mamma star 
and the kiddies spending a 
quiet Sunday at home, or 
picnicking on the beach, 
and just oozing domesticity. 
Astonished mothers of 
famous young women were hustled belatedly out of their 
concealment, to be dressed in dignified black satin, with 
just a touch of lace at the throat, and to appear with 
their daughters at every premiere. Actresses who had 
been "on their own" since they joined the chorus at the 
age of fifteen, suddenly became shrinking, sheltered dar- 
lings who couldn't stir without a chaperon. 

And these same young women were photographed in 
bungalow aprons, scrambling eggs and cutting roses, 
until there was a distinct flurry in the egg and the rose 

It was an economical era for actors, at that, because 
no one would think of daring to offer a reporter a 

Hysteria Hits Hollywood 


The hysteria of that period was just dying down, 
when the big shut-down occurred. Hollywood speaks of 
it in much the same tone that an orange grower employs 
in mentioning the big frost. 

That was a time! No one knew just what it was all 
about, but the moaners opined that this was, indeed, the 
end. Pictures were finished. They had been merely a 
fad, and the public had had its fill of them. And in 
proof of their wailing, nearly all the big studios closed, 
or else just barely marked time for some months. People 
who were under contract were paid whether they worked 
or not, but contracts were not being renewed and free 
lance and salaried people suffered. 

Actors, whose lives consist of ups and downs, are 
skittish folk at best. They are not informed, nor would 
the majority of them comprehend the workings of the 
business end of the industry upon which their careers 
and livelihood depend. They live constantly in fear of 
the worst, and it looked to most of them at that time as 
if it had happened. 

The players who had come to pictures from the stage 
polished up their old tricks, and prepared to go 
back there and begin again. Those who had 
grown up in the movies discussed various ways 
of committing suicide. 

At last, however, the storm subsided, studios re- 
sumed production, and we were ready for the next flurry. 

There were minor upsets just here, which kept the 
moaners in practice. Threats, for instance, to move the 
studios elsewhere agitated all the boys and girls who 
had invested in California real estate, as well as the ones 
who liked their all-year-round outdoor exercise, while 
the ranks of those who lived and worked in the East 
were terribly torn by the actual removal of several New 
York units to California. 

Contract players in the East announced loudly that 
they would not come — and then came, muttering and 
snarling that they would not stay. Now, after three 
years or so, the Eastern studios are reopening, and there 
is just as much grumbling among those people who are 
asked to journey to New York for a picture or two. 

Then came loud demands from producers and casting 
directors for new faces. "The old, established stars are 
nearly finished," they announced to a mildly astonished 
world. "Some of those who grew up with the business 
are nearly forty. We must have young players to re- 
place them. New talent ! Where can we find new 
talent ?" 

Whereupon the various stu- 
dios signed hundreds of de- 
lighted youngsters for stock 
companies and, having no use 
in the world for so many, kept 
them around the lots, idle on 
small salaries, until many a 
talented young spirit was com- 
pletely crushed. 

Paramount inaugurated its 
famous school at tins period, 
and also employed a mysteri- 
ous gentleman who confided to 
me that his job was the enter- 
taining one of "star picker." 

This, it seemed, entailed his 
going to see lots of obscure 
pictures and looking at tests 
of hundreds of unknown play- 
ers in a frantic search for 
faces and personalities which 
might be substituted for those 
of famous actors at a quarter 
of the expense. 

A few years 
ago the 
gag was a 
nervous re- 
action to 
some Holly- 
wood scan- 

When depressions come, players 

who used to be on the stage begin 

practicing their old tricks. 

And the moaners sobbed and sobbed. This time they 
accused the powers of a deep-laid plot to cut down the 
huge salaries of stars — to grind the actors down by en- 
forced competition with unknowns. Probably they were 
quite right. But it didn't work. And the next thing we 
knew the foreign influx was upon us. 

American companies had developed a flourishing for- 
eign market and European companies, attempting has- 
tily to enter into competition, were developing players 
of their own. Their difficulty was that as fast as they 
developed them, American producers lured them away 
with promises of fabulous salaries, and the opportunity 
of reaching a public which was greater by millions than 
that commanded by their home industries. 

So the Negris and the Janningses and the Asthers and 
the Yarconis flocked to Hollywood, where they were 
greeted with scant cordiality by the local talent. And 
a great wailing and gnashing of teeth ensued. 

Home-town boys and girls yammered that they wire 
being shoved out of their jobs by a lot of foreigners, 
who were here only to grab what money they could, 
and scamper back to Europe with it. 
They pointed out that large fortunes 
would be thus taken out of the country, 
and yelped as loudly as any chamber of 
commerce for patrons of home industry 
and talent. 

The aliens, wounded to the quick by 
these accusations, replied, with hurt dig- 
nity, that it wasn't the money they were 
after at all! Perish the thought of such 
iniquity as an actor trying to get himself 
some cash ! It was art that they were 
serving by coming here, they maintained, 
bringing to their own defense the in- 
dubitable facts that there were larger op- 
portunities for them in this country, as 
well as better equipment for making good 
pictures, more money spent on exploita- 
tion, and so on. 

In fact, they appeared to consider Hol- 
lywood the true artist's Mecca, which was 
somewhat bewildering to the home folks 
who had never considered it anything of 
the sort. Some of the foreigners even 

Continued on page 106 


riicto by Duncan 

Dorothy Gulliver has at last 
graduated from "The Collegians." 

SOME one ought to get out a 
weekly book of etiquette to 
guide me in what not to say 
to actors," Fanny remarked in a 
still, small voice that showed that 
she had recently been crushed. 

"It used to be quite au fait to 
remark, 'What are you working 
in at present?' secure in the 
knowledge that you would hear a 

long monologue, but now " 

Fanny groaned. 

I knew that she would confide 
in me eventually, more to unbur- 
den her mind than to save me 
from making the same mistake. 
But at the moment she was gaz- 
ing at Thomas Meighan, who had 
just come into the Algonquin. 
He was looking much more gay 
and youthful than he did in the 
days when one picture followed 
closely on the heels of another. 
"Well, it's like this," Fanny 
finally revived enough to speak. 
"The Actors' Equity has practically 
fied that they don't know whether to 


every one so tern- 
admit that they are 

working or not. Every one is suspected of favoring Equity 
— and why not? If you ask a player if he is working, 
likely as not you will follow it up with an embarrassing 
question about whether Equity approved the contract or 
not. So people just glare at you with a none-of-your-busi- 
ness air, or else act gay and carefree, as though work was 
the last thing to enter their minds. 

"Richard Dix is one of the stanch supporters of Equity. 
I've heard that is one of the reasons why he hesitated be- 
fore he signed with RKO. Another reason is that Richard 
is slightly past the juvenile, romantic age, and yet he has all 
sorts of big ideas about the kind of pictures he wants to 
make, and the salary he ought to get. 

"Of all the girls in pictures, Ann Harding has taken the 
bravest stand. She has a perfectly good contract with 
Pathe, signed before the Equity manifesto, but she has 
gone on record as saying that she will do whatever Equity 
asks of her. And any one who knows Ann is sure that she 
would gladly forgo a big salary, or getting on the right 
side of producers, for the sake of a principle." 

"Maybe she doesn't like pictures, anyway," I suggested, 
always one to look for a tattered lining on the back of 
every rosy cloud. 
Fanny glared at me. 

"She loves them," she declared, "and what is more to the 

point, the camera and the 
microphone look on her as a 
gift from heaven. I'm all 
set to get seriously annoyed 
when her first picture comes 
out, and a lot of people re- 
mark that she didn't go into 
pictures until they became 
vocal. She could have gone 
into pictures any time she 
chose. Four or five years 
ago, when she was making 
her first hit on the stage, 
Mrs. Valentino made a test 
of her for Rudy. He 
thought she was one of the 
most exquisite and sensitive 
actresses he had ever seen 
He wanted her to work with 
him, but a good play came 
along about that time, and 
she decided she would rather 
stick to the stage. Then 
First National wanted her. 
And now that she has started 
making pictures, I for one, 
will break down and weep if 
Equity allows her to make 
the grand gesture and walk 
out when it really isn't neces- 

"Ben Lyon is another do- 
or-die Equity supporter, and 
that is brave on his part as he is a free lance. But Ben 
can always go back to the stage. In fact, I've heard 

Ina Claire will honeymoon in London. 




Fanny the Fan hands a 
bouquet to the queen of the 
Eastern studios, and sees 
Broadway dusting out its 
rooms for the prodigals' 

that he intends doing so. He is slated to 
try out a play in Greenwich, Connecticut." 

I was so startled I couldn't even find 
breath to ask, "And why not in Podunk?" 
But Fanny gathered what I was - thinking. 

"You shouldn't show your ignorance like 
that. It really isn't at all like joining a 
picture company in Muncie, Indiana, or 
learning to write scenarios at a school in 
Keokuk. Broadway moved up to Green- 
wich, Connecticut, for the summer, and 
now Broadway managers are there for 
try-outs. The few first-rate actors who 
haven't heard the call of Hollywood have 
been appearing there, and as a sort of re- 
turn courtesy Hollywood has already 
yielded Cullen Landis to them. Later on 
Doris Kenyon and Irene Rich are to ap- 
pear in plays there. 

"You really see more of a Broadway 
audience there than you do on Broadway 
itself, these days or nights. I've seen Elsie 
Ferguson, to say nothing of Claudette Col- 
bert. Florence Nash, and Jeanne 

But why say nothing further of 
Claudette Colbert? It seems to me 
that some one ought to scream in the 
ears of Goldwyn, Lasky, Thalberg, 
ct al, that she belongs in talking pic- 
tures. But Fanny never gives me time 
to say anything. 

"I saw Greta Nissen at the Green- 
wich Theater one night, and I wish 
that some one would explain to me 
what has come over her. She seems 
to be in a state of indecision 
over her type. The top half 
is definitely old-fashioned 
vampire, with ear rings, 
heavily shaded eyes, 
and bulging figure. 
And from the waist 
down she is as de- 
cidedly flapper as a 
John Held draw- 
ing. Very brief 
skirt, socks, and 
bare legs. I just can't 
understand it." 

"Maybe she was in a 
hurry, or thought she 
was going to a fire," I 

"Well, if there was 
any confirmation of a 

Joan Bennett is setting a 

breakneck pace for her 

sister, Constance. 

Photo by Carsey 

Doris Kenyon expects to try out a stage play at Greenwich, 

rumor that Greta hurried for anything, it would be 
such good news to picture producers that they might 
give her another chance," Fanny announced vehe- 
mently. "She was always one of those girls who 
needed two or three hours to straighten her hat and 
powder her nose after the camera man announced 
that he was ready." 

"Wonder what's happened to all the other 
girls who have disappeared from pictures :" 
I wondered aloud. 

"Well, there haven't been so many.'' Fanny 
retorted with her habitual vehemence. "You 
act as though a plague had carried off thou- 
sands. If you watch pictures closely, you 
will notice that the girls who were good in 
silent films are getting alon;; in the talkies 
quite nicely, thank you. 

"Maybe you haven't noticed it. but Tatsy Ruth 
Miller is in two Broadway theaters this week, and 
that's better than she used' to do in the silent days. 
And Colleen Moore expects to sign a new contract 
with First National. And Clara Bow is still packing 
them in, even though the title of her latest picture 
lias all the makings of a dirty dig. 'Dangerous 
Curves' — just what Clara has to worry about. 

"T can't understand why Dorothy Gish went to 
England to make pictures. Or why Louise Brooks 
is exiled to Germany." 

Fanny realizes, of course, just as every one else 


Over tke Teacups 


But it is 
may never 

Marceline Day has joined Warner Brothers 
for "The Show of Shows." 

does, that players always go where the 
bids for their services are highest, even 
if the chances are ten to one that the pic- 
tures they appear in will be terrible. 

"More old-timers are breaking into the 
news every day," Fanny announced cheer- 
fully. "Beverly Bayne is to do a stage 
play called 'Escapade' on Broadway soon. 
Don't know just what sort of escapade 
it will be, but you can draw your own 
conclusions from the fact that she has 
been studying tap dancing for weeks. 

"Poor old Lillian Walker, who used to 
be famous in early Vitagraph days, came 
out of obscurity the other week to con- 
fide to a judge that she was all but 
starving. Her husband was just full 
of ideas about common interests and 
bank accounts when she was making 
a lot and he practically nothing. But 
now that financial positions are re- 
versed, it took a court to get him to 
give her two hundred and fifty dol- 
lars a month." 

"You can't expect me to remem- 
ber her without displaying a few gray hairs, or an early 
history of the movies. And I don't intend to do it." 

"Well, then," Fanny urged, "maybe you will at least 
be big enough to admit that you can remember Dolores 

I slid one hand under the table while I hastily counted 
one, two, three, four years, then nodded assent. 

"Well, believe it or not, she is making a picture called 

Photo by Phyfe 

If she survives the 
heat of Hollywood, 
Marilyn Miller will 
open in a Broadway 

for a small, independent 
company, so we may never hear more of it. She 
lias been touring in concert and singing over the 
radio for the last few years. Maybe she will stage 
a real cornel >ack in pictures, now that singing 
voices are important." 

"There isn't any need for singers in pictures," 
I protested. "To hear the press agents tell it, 
every girl in Hollywood has a voice of operatic 
quality. They insist that one and all would have 
landed on the concert stage, if producers hadn't put 
them under contract soon after their cradle days." 
"Well," Fanny rose to the occasion. "Several 
of them are good enough to be making phonograph 

"Yeah," I granted, "and who is to keep their 
doubles from singing the records for them?" 

Fanny hadn't thought of that, but a lot of us 
skeptics will. And at that I am not as skeptical as 
some people. I really believe that Dolores del Rio 
sang the songs in 'Evangeline,' but in her personal 
appearances with the picture in Pittsburgh, she just 
murmured a few words from the stage and bowed 
off. And a lot of patrons crabbed about it. Maybe 
they haven't heard that a voice that will all but 
burst a microphone cannot be heard in a theater. 

"Adolphe Menjou and Kathryn Carver sailed 
for Europe the other day," Fanny remarked idly, 
as she craned her neck to get a glimpse of Give 
Brook. "Adolphe insisted that he was a man out 
of a job, but no one takes him very seriously, be- 
cause his last picture was so good that Paramount 
is sure to want him back in the fold again. And 
I hear that Georges Carpentier is headed for Hol- 
lywood and films. Wouldn't it be a grand idea if 
some company made a picture, 
a very modern three boule- 
vardiers sort of thing, and used 
Chevalier, Carpentier, and Men- 
jou in it? Of course, it would 
be expensive, but when the 
Warners are using about a mil- 
lion dollars' worth of talent in 
'The Show of Shows,' some 
other company might as well 
make a costly gesture. 

"Marceline Day is one of the 
many in 'The Show of Shows,' 
but that is not what has made 
her a topic of general conver- 
sation lately. She was rumored en- 
gaged to Joe Benjamin, Marian Nix- 
on's ex-husband, and that wouldn't 
have been news, except that three or 
four other girls thought they were 
engaged to the gay, young ex-prize 
fighter, too. I admired Marceline's 
dignity when she didn't send indig- 
nant wires to the New York tabloids 
denying that she ever had been en- 
gaged to him. She just sat back 
quietly and said nothing." 

A dignified policy, perhaps, but 
one that doesn't provide much amuse- 
ment for the innocent bystanders. 

"Calif ornians are doing a lot of fast talking," Fanny 
babbled on, "trying to convince visiting celebrities that 
they are having most unusual weather. It has been so 
hot out there that every one simply wilts under the 
studio lights. Poor Marilyn Miller has suffered in- 
tensely, but they say she looks anything but wilted. She 
is watching the calendar with deep interest, counting 

Over trie Teacups 


the days until she gets hack to New York in a 
new play on Broadway. 

"A lot of New York theaters are having their 
star dressing rooms dusted out, hoping for the 
prodigals' return. Ronald Colman will appear in 
a play on Broadway. At present it bears the 
somewhat cumbersome title 'The Villain Is the 
Hero After All,' which, it seems to me. tells the 
whole story. If Joan Bennett wanted to come 
hack to Broadway, she could have practically any- 
thing she wanted. But I Jiave a hunch that she 
will stay in Hollywood, and be one of the out- 
standing successes of the year. Already she has 
hit a pace that her sister Constance will have to 
hustle to keep up with. 

"I don't see how Hollywood can find room for 
all the people who have gone out there. Little 
Claire Luce, who has conquered New York and 
I 'aris and London in musical comedy and drama, 
has gone out, and won't he really happy until she 
is queen of the movies, too. The producers will 
have to work fast, though, as she is scheduled- to 
open in a play on Broadway soon. 

"Ziegfeld closed 'Whoopee' for a few weeks, 
and the company made a sudden dash for the 
trains, announcing that California was the per- 
fect place to spend a vacation. Those who come 
back will be the ones who found the studio gates